The Shark and the Albatross
Page 1
THE
SHARK
AND THE
ALBATROSS
JOHN AITCHISON is a wildlife filmmaker. He has worked with the BBC, National Geographic, PBS and Discovery Channel on series including Frozen Planet, Life, Big Cat Diary, Springwatch, Hebrides and Yellowstone; and programmes such as the BBC’s The Amber Time Machine. His many awards include a joint BAFTA and a joint Primetime Creative Emmy, both for the cinematography of Frozen Planet.
THE
SHARK
AND THE
ALBATROSS
Travels with a Camera to the Ends of the Earth
JOHN AITCHISON
First published in Great Britain in 2015 by
PROFILE BOOKS LTD
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Bevin Way
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Copyright © Otter Films Ltd, 2015
Maps copyright © Freya Aitchison, 2015
The moral right of the author has been asserted.
All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the publisher of this book.
A CIP catalogue record for this book is available from the British Library.
eISBN 978 1 78283 107 5
This book is dedicated to my family,
and to the memory of my grandma, who taught me to notice
CONTENTS
Introduction: The Shark and the Albatross
1 Hungry Polar Bears
2 Hunting with Wolves
3 Peregrines among the Skyscrapers
4 Hunting for Tigers
5 A Lucky Feather
6 The Patience of a Bear
7 A Big Bunch of Geese
8 The Elusive Lynx
9 Eiderdowns and Polar Bears
10 A Storm of Birds and Whales
11 Ancient Mariners and Savage Seals
12 Lives in the Balance
13 Penguins Taking the Plunge
14 An Audience with Emperors
Conclusion: Moving Pictures
Acknowledgements
List of Illustrations
Index
INTRODUCTION:
THE SHARK AND THE ALBATROSS
Cloud shadows. Water-dapple and dancing light. A strip of sand, blindingly white: an island made entirely of broken coral and shells and, at my feet, the sea. This sea, the colour of glass, stacked layer upon layer: a clear and vivid green, like the eyes of a cat. There are seven squat bushes on the island, moulded by the salt wind and decorated, like low Christmas trees, with birds called noddies. They are terns, chocolate-coloured, evenly spaced, all facing the wind: the ever-present wind. Most of the island’s birds are black-footed albatrosses: big, dark brown, with pale faces and, well, you can guess the colour of their feet, but it’s their wings that mark them out, that define them. Their wings are wider than I am tall.
A shower is coming. As the sky darkens, the sea turns to turquoise milk. A strong gust sweeps across the island and the albatrosses respond, opening their wings. All of them. Hundreds of them, yearning to fly. They live for this wind. They are all young birds, just a few months old. The boldest lift a metre into the air on the gust and teeter there, trailing their feet. It’s their first taste of flight. They will spend most of their lives in the air: the ones that live to leave the island.
This is part of French Frigate Shoals, four days away from Honolulu in Hawaii, and I’m seeing it from a tiny platform, thirty metres offshore. The waves are just a metre below me, with another three to the seabed. It’s a bit precarious but perfect for filming the young albatrosses as they are gradually drawn to the sea.
At sunrise I sit beside one of them on the beach, just an arm’s reach away. She takes little notice – just one peck at my shoe – before turning back to the water. I follow her with my camera. Her dark eye fills the viewfinder. I can see the waves reflected there, the beach and a man, silhouetted, crouching by his tripod under the bright circle of the sun. It is humbling to be trusted by her as she opens her wings to the wind. In two weeks she and every other albatross on this island will have left, or died in the attempt. I shift focus and frame a view of the albatross’s feet: black triangles on the sand. The shadow of her head falls exactly between them, completing the image of the bird. A wave curls in and hides her feet, but the shadow of her upper half remains on the froth until the wave retreats and restores her. The shadow of a frigate bird streams across her back, across my face and on across the bright sand. I am often drawn to filming shadows. I like the way they hint at reality without being the thing itself, as photographs do, or films. I like the way they are made, by light and matter touching. Later my own shadow does that, when it falls across another’s eye.
From my filming platform I scan continuously. Looking out. Looking down. The water surface is fascinating. Impressions of the seabed filter up through its restless lens: sand ripples, like fingerprints, compress and stretch, while webs of light dance to the wave-rhythm and from every wavelet and every curve comes the image of the sun, a million, million times. This camera could slow the motion down for me to study it, to probe the optics of the sea, but I don’t even try because I don’t want to break the spell. Instead I watch and revel in the beauty of this dancing light; but within this enigmatic sea there are other shadows moving: large ones, sometimes larger than me, and that’s why I stand here, day after day. I am looking for shadows, but they are shape-shifters: green turtles splinter and re-form, to surface with a monk seal’s whiskery face. Others shimmer but stay put and become rocks or coral heads. Some shadows are longer and darker and more sinuous. More dangerous.
Another gust hits the beach and the albatrosses paddle the air with their wingtips. To fly from here, where their toes are wetted by the surf, would take them out over the water for the first time. If they knew what was waiting for them I wonder how many would choose to stay and starve upon the beach.
The shadow of my platform leans towards the shore, cast down through the sea and stretched out upon the sand: three boards to stand on, a handrail, the tripod, then me – and into this space, between me and the shore, swims a fragmented shape. It is twice as long as I am tall. Beyond it I can see the albatrosses exercising: naïve, oblivious. The shape swims into my shadow. My shadow-head falls across its eye, across the sharpness of its fin and across its skin: skin striped like sun-dapple and built to hide in shifting light and shade, like its namesake, the tiger – but this tiger is a shark. Beneath my shadow it changes course. The tiger shark has seen me too.
Feeling the breeze and lifting onto tiptoe, the albatrosses are exquisitely aware of the air flowing over their wings: they sense it in their every feather-filled pore. They are almost ready now. I think it is better that they do not know. Suddenly my coming here to film these birds dying seems horrible, but if I do not record what happens I will have failed; and yet these albatrosses are young and beautiful and some are on the brink of meeting killers fit for nightmares. So can I wish that every albatross evades the sharks? I can wish it, I suppose; I know it won’t make any difference, and still I must film what happens. Even if I wanted to prevent them dying I could not: sharks have to eat.
We Must not Interfere. It’s our mantra, our creed as filmmakers: to document but not to touch, and sometimes that’s very hard.
From the beach an albatross lifts clear and cuts its ties with the land. It heads my way and for each of us the test begins. The bird is unsteady in the
air. I imagine the effort it is making, trying to stay level, trying to stay dry. It passes me, flying slowly, too slowly, and it settles on the sea. Through my lens I can see it swimming calmly. I start the camera. The bird folds its wings with an efficient, three-way bend and paddles on. I’m completely still, intent on focus, composition and the dozen other things that are my job and which make the camera work, or not. Much of this is second nature and I find I have just enough spare thinking time to be there, on the sea, with the albatross. Again I see its eye but this time the only reflection is the bright point of the sun. This young albatross is entirely alone.
The shark is shocking when it comes.
The sea erupts. A head four times wider than the bird hurls it towards the sky, its wings trailing. In this liquid world the shark is astonishingly solid, the antithesis of water, like a blade. Its eyes are blank white circles, zombie-like membranes, closed for protection as it attacks, but they mean the shark must strike blind and it doesn’t see the albatross slide sideways from its enormous head, unharmed.
A triangular fin cuts past, inches away and far taller than the bird. The tail thrashes as the shark turns to try again. The camera runs. I haven’t breathed. Another lunge and I see the shark’s jaws bulging forward through its skin as it prepares to bite, but the bird is deflected sideways by its bow-wave and again the shark misses.
The albatross grasps its opportunity and runs. Literally runs, scrabbling for footholds on the water and pumping its wings. It gains the air and heads out to sea, and this time it doesn’t stop. The shark makes two more frantic passes and then it’s gone. Who knows how much it understands of flight? Perhaps the albatross appeared to it briefly, only to vanish again, leaving its footprints patterning the sky.
There will be others in the coming days. The sharks will wait for them and so will I, but I can be honest with myself now: I am glad at least the first one escaped.
I filmed this drama from the albatrosses’ perspective, so perhaps it was inevitable that I would sympathise with the birds, but there were divers on our team as well, filming what happened underwater. They saw things differently and, despite taking much greater risks than I did, they surfaced from every dive full of admiration. They spoke of the sharks’ exquisite sense of timing and their extraordinary navigational skills, which bring them every year to that tiny speck of land just as the first birds fly. They pointed out that sharks are vital to the health of the ocean and in hushed voices they described their beauty and their shocking decline, through overfishing.
The way in which a film is shot, edited and narrated affects which animals we sympathise with and there is no doubt that many of the programme’s viewers will have taken sides, as we did – but do we really have to choose between sharks and albatrosses?
Each chapter in this book is about one of the journeys I have been privileged to make in the two decades since I started filming for broadcasters such as the BBC. In these pages you will find some of the world’s great wildlife spectacles and you’ll meet some of the people who are usually hidden behind the scenes: people as varied and interesting as the animals themselves, and who are just as important to the filming. I have chosen these stories because each one says something about why nature matters. I hope they also show that learning about wild animals through films can make a difference to our lives, and sometimes to theirs.
It is impossible to travel widely without seeing that many wild animals are struggling. On French Frigate Shoals, for example, we came across dead albatross chicks, choked by plastic brought to them by their parents, who had mistaken it for food. Having spent time with those albatrosses, the tiger sharks and many other animals, it is clear to me that we all face choices about how much we care, just as I did on that filming platform. These are vital choices. Ultimately, they are about how to share the planet’s resources. We can make them consciously or we can drift along half asleep, but either way we are choosing now.
The most important choice is not whether we prefer predators or prey, it’s whether we are on nature’s side or against it: whether we want the shark and the albatross, or neither. This book is about that too.
Wildlife filmmaking does not always take place in tropical paradises. Most of the journeys in this book have been to the colder reaches of the planet – the Arctic and Antarctic, the Falklands and the Aleutian Islands (all for the BBC series Frozen Planet), as well as to China and Yellowstone National Park in the winter. I am occasionally sent to warmer parts as well: to India and even to New York City in the spring.
Two of the world’s most exciting animals are the emperor penguin and the polar bear. Both live close to the poles but at opposite ends of the world and for years I had dreamed of filming them. Working on Frozen Planet gave me a chance to go to Svalbard, in the far north of Norway, where I joined a team trying to film polar bears hunting. I knew that living and working in the high Arctic would be very different from filming sharks and albatrosses in the tropics, but none of us had guessed how much we would struggle even to find hunting bears, let alone to film them.
– ONE –
HUNGRY POLAR BEARS
A small ice floe drifts by, carrying eight footprints. Each one is larger than both my feet put together. The bear’s back paws have left marks shaped like shoeboxes, while the front ones are rounded and pigeon-toed. Every pad shows that it walked purposefully across the ice but the last print ends in dark water. The bear was here: the bear has gone. The floe grinds along the ship’s hull and spins away, the tracks pointing everywhere and nowhere, which seems to sum up perfectly our failure so far. We don’t know where this bear came from or where it went, but if filming polar bears is hard it is nothing compared to being one.
The producer in charge of the shoot, Miles, is hoping to film the bears at their most difficult time of year. Surprisingly this is not during the dark days of winter, when the Arctic Ocean freezes over. Polar bears are well insulated against the cold and they roam freely across the frozen sea, hunting seals where they haul out onto the ice to rest or give birth. For them the winter is a time of opportunity. Their hardest time is now, in the summer, when the bears can either carry on looking for seals on the dwindling ice, or come ashore in places like Svalbard, to search for other food.
The islands of Svalbard belong to Norway and they are surprisingly busy, despite being more than 700km (about 460 miles) north of the mainland and twice that far above the Arctic Circle. The only town, Longyearbyen, has housing for more than 2,000 people, a supermarket and even a university where, during their first week, all the students are taught to shoot. It is against the law for anyone to leave town without a gun and at the camping store you can rent rifles by the day. Longyearbyen’s road signs make no bones about the reason: they are standard red and white warning triangles, but with bears in the middle. In Svalbard polar bears outnumber people.
Our ship is called the Havsel and we know little about her except that her name means ‘ocean seal’ and that on the way north from Tromsø, her crew stopped to fish for cod – they are Norwegians, after all. Miles chose her, not just because the other ship he was offered had a harpoon gun mounted on the bow, but also because the Havsel’s lower deck is large enough for the extraordinary amount of equipment we have brought. It is evening when we start to load the ship, passing boxes from hand to hand across the deck and down the hatch. The ship’s engineer lifts the lid of one case labelled Guns and Ammo. It is filled with weapons and cans of ‘bear spray’ made from chilli peppers. He pulls out one of the cans: ‘For a polar bear this would be sauce!’
As we work through the night the sun never sets, which is quite a contrast to the team’s first visit to Svalbard, back in the winter. Then, even at noon, the sky was as dark as night and the temperature hovered around −20°C (−4°F), but for us that was ideal because we had come here to be taught about filming in extreme conditions. A large part of the course covered how to deal with polar bears. We were told that, almost uniquely among animals, some of them choose to h
unt people. One photograph from the course has stuck in my mind. It showed the foot of a man who had been dragged from his tent by a bear. His heel had been bitten away, the gap extending more than halfway through his leg. He had saved himself only because he slept with a loaded rifle. Using the Havsel as a base, rather than camping, makes sense for this reason too.
We had spent that day at a firing range with an instructor from Svalbard University who, in a country where it is normal to be called Odd, had the quite un-Norwegian-sounding name of Fred. He didn’t seem fazed to be teaching a group of British naturalists how to kill bears and began by explaining why it might be necessary: two teenage girls, he said, had been walking close to this range when a bear surprised them. Neither of them was armed. One ran and the bear killed her.
‘If she had thrown down her mittens the bear might have stopped to sniff them. She could perhaps have bought herself a little time, but if the same thing happens to you this will be your first line of defence.’ He showed us a wide-mouthed flare pistol. ‘The sea ice often cracks and bears hear many loud noises, so flares are a better deterrent than the sound of a gun.’
To show us what he meant he fired a brilliant red firework into the sky. The flare was impressively bright against the darkness but individual bears have different characters and it seems that some are not frightened by flares. Fred described what happened when one such bear tried to break into a cabin. Someone inside opened a window and fired a flare. The ball of blazing magnesium flew past the bear’s nose and bounced away along the ground. The bear chased and swallowed it, then returned to the hut as if nothing had happened.
‘So we will also practise with rifles,’ he said.
The targets were all photographs of bears.
‘Four rounds, commence firing!’
I lined up the sights and squeezed the trigger. Bang! Pull the bolt to eject the cartridge and push it forward hard to load the next round, aim and squeeze, trying not to shut my eyes. Bang! Bolt in and out, aim, squeeze. Bang! Again. Bang! The shots echoed off unseen mountains as snowflakes settled, bright in the floodlights of the range.