Pages in this Category

Inspired by some of the 1960's & 70's greatest war photographers BDS member George Trebinski first tried his hand at serious photography when he was in the army. As you may remember, George was the overall winner of the 2005 members' photographic competition with some terrific pictures of deer and other wildlife - particularly hares - throughout the year.

George now works as a Civil Servant for the M.O.D. and much of his wildlife photography is carried out south of Salisbury Plain where he finds more than enough subjects for his camera.

There was an early family connection with photography as his step father was interested in the subject and George's first camera - at the age of 15 - was the ubiquitous Kodak Instamatic. His interest in wildlife photography came from reading second-hand National Geographic magazines but as George says of his early interest in wildlife photography, "I couldn't do much about it with an Instamatic."

George Trebinski Photography In the army he successfully took a Unit Photographers course where he used Rolleiflex twin lens reflex cameras. His first successful 'commission' was to photograph one of the drivers with his ammunition truck in a difficult situation. George's picture came out fine but the driver severely damaged the truck in his attempt to provide a good 'action picture opportunity'.

By this time George had managed to buy his own Nikon F, 35mm, SLR which accompanied him to Germany, Ulster, Oman and of course Salisbury Plain and gave him the opportunity to extend his photographic experience .

In the 1970's George married and when cash was a little short he sold the camera - complete with assorted sand, grit and loose cogs. As George says,"They don't make cameras like that any more!"

Photography took a back seat until 2001 when, after buying a Canon G1 digital compact camera, the spark of photography was 're-ignited'. A further interest in wildlife photography ensued and George began serious picture taking again and although it is still a hobby he describes it as more of an 'obsession'.

I asked George if wildlife as a whole was his favourite subject?

GT. "Yes, wildlife - but anything that catches my eye because of the light or composition....(The influence of an admired photographer, Ansel Adams, comes out here) ... .I suppose the hare is favourite because it's the most challenging to get within 10 metres of."

JJ. What about deer? What do you consider to be a successful deer picture?

GT. Sharp eye contact and intamacy are what I try to capture - but seldom succeed.

JJ. Do you plan your photographic expeditions?

GT. I manage deer on 3 estates and pick up on 2 shooting estates so as long as I have early mornings and dry weather I fit photography around deer management and other commitments.

JJ. Do you favour early morning for photography?

GT. Yes, because the light has a low, beautiful quality without being too warm. Also as you stalk closer, the light is strengthening thus enabling optimum camera settings. In the eveing it's always a rush to get the shot before the light fades.

JJ. What equipment do you use?

GT. I have 2 Canon digital camera bodies. A D300 and a recently acquired D20. For close up I use a Tamron 90mm f2.8 Macro. Landscapes are covered by a 17mm-40mm f4 L and my main lens, which lives on the camera, is a Canon 100mm-400mm F4 IS L. It's big, weighs a ton, cost a bomb but has stunning glass and versatility.

JJ. Is there a piece of equipment that you would like to own?

GT. A canon 400mm f2.8LU IS lens. It's razor sharp with amazing contrast and would give me 15 extra minutes of usable light. Also, mounted on my D20 with a 1.4 converter it would be equivalent to 840mm f4. Size does count, but it also costs £5400 so is a pipedream.

JJ. Do you prefer digital?

GT. Digital is versatile but film for absolute quality and tonal detail with studio and macro work. Once you've shelled out to buy the hardware the next two big expenses in nature photography are getting to the location and film / processing. Digital wins every time in these 2 areas as it allows you to check, using the LCD screen and Histogram, whether you've got it right or not. Thus without leaving the location or spending money on more film you can re-shoot as long as the subject allows. The more you shoot the more you learn and with digital it's instant learning on site. No more waiting for the lab to return pictures, by which time I've forgotten how I took them, let alone what the camera settings were.

JJ. Do you print your own pictures?

GT. Yes, this allows me to squeeze out the best quality I possibly can and do justice to my subject and all the expense, time and effort that's gone into capturing the image. For me it's that finest detail that's the difference between a photograph and a snap.

JJ. What single piece of equipment would you recommend for wildlife photography?

GT. Gosh, how long is a piece of string? Everything depends or connects to everything else. A top quality zoom lens as wide and as long as possible - a 100mm-400mm

JJ. You have the advantage of image stabilised lenses, what about physical supports?

GT. Support is vital to me. At enlargements of A4+, camera shake becomes blindingly obvious and no amount of digital sharpening will disguise it. IS (image stabilisation) coupled with a monopod is my walkabout action shot set up, but my bean bag is my constant companion and has helped secure a lot of decent shots. When using a hide, a tripod is a must have piece of kit but make sure it is big and rigid.

JJ. Do you use hides often or rely on camouflage clothing?

GT. A combination depending on quarry, weather and lighting. I mostly stalk and wear camouflage clothing. I also camouflage my camera and lens. Hares aren't really that mad.

JJ. What is your favourite piece of equipment?

GT. My Lowepro Trekker AW rucksack. It comfortably holds my camera fitted with the big zoom as well as all my other equipment. It doubles as a bean bag and portable hide when pushed along the ground in front of me.

JJ. What continually inspires to you to take pictures?

GT. The challenge of capturing one perfect moment, then producing the perfect print that depicts the beauty of the animal and its setting. I've not done it yet and doubt if I ever will, but I am a salmon angler and so live in constant delusion.

JJ. What would you look for in a winning picture?

GT. The one that catches your eye and you keep thinking about. It will have a highlight in the eye and a combination of interesting subject, composition and skillful technique. As it is a 'photography' competition then a degree of technical skill in the presentation should be apparent. I have seen some excellent images ruined by over enlargement and printing on the office printer using typing paper.........A bit like spoiling a carcass and then overcooking it before serving it up to your guests.

JJ. What advice would you give to competition entrants?

GT. Ensure the image is sharp, quality is better than size. Submit the best quality print possible (use a photo lab if it will get a result)

JJ. What would you say is the essence of a good wildlife photographer?

GT. I am still trying to get there. Patience, coupled with knowing when to press the shutter because you have studied your quarry. A good slice of luck helps.

Finally I asked George if he had an ambition in photography?

Modestly he told me he had two. "One is to have a photograph on the front cover of a glossy magazine. The second is to take a good enough photograph to enable me to enter the 'Wildlife Photographer of the Year' compeition.

I'm sure it's just a matter of time before the first ambition is fulfilled and personally I feel that George already has more than enough pictures good enough to successfully enter the said competition.

George, thank you for your time and comments and we look forward to seeing more of your photographs in DEER.

First published in the Deer Journal.

For more Information on George please visit his site at http://www.deercountryimages.com/