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PROFESSIONAL PHOTOGRAPHER • JULY 2020

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VOL. 147 • NO. 2498

JULY 2020
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 THE OFFICIAL JOURNAL OF PROFESSIONAL PHOTOGRAPHERS OF AMERICA

Director of Publications Jane Gaboury, jgaboury@ppa.com

Senior Editor Joan Sherwood, jsherwood@ppa.com
Associate Editor Amanda Arnold, aarnold@ppa.com
Art Director / Production Manager Debbie Todd, dtodd@ppa.com
Editor-at-Large Jeff Kent, jkent@ppa.com
Contributing Editors Don Chick & Ellis Vener
Director of Sales & Strategic Alliances Wayne Jones, wjones@ppa.com, (404) 522-8600 x248
East Regional Sales Manager Marina Anderson, manderson@ppa.com, (937) 902-8217
West Regional Sales Manager Brian Sisco, bsisco@ppa.com, (404) 522-8600 x230
Advertising Services Manager Megan Woods, mwoods@ppa.com, (404) 522-8600 x237
Advertising Services Coordinator Curistan Neal, cneal@ppa.com, (404) 522-8600 x223

PROFESSIONAL PHOTOGRAPHERS OF AMERICA

BOARD OF DIRECTORS
President Gregory Daniel, M.Photog.Cr., CPP, F-ASP, gdaniel@ppa.com
Vice President Mary Fisk-Taylor, M.Photog.Cr., CPP, ABI, API, mfisktaylor@ppa.com
Treasurer Jeffrey Dachowski, M.Photog.Cr., CPP, jdachowski@ppa.com
Chairman of the Board Audrey L. Wancket, M.Photog.Hon.M.Photog.Cr., CPP, awancket@ppa.com
Kira Derryberry, M.Photog.Cr., CPP, kderryberry@ppa.com
Mark Campbell, M.Photog.Cr., CPP, API, mcampbell@ppa.com
Allison English Watkins, M.Photog.Cr., CPP, awatkins@ppa.com
Michael Hanline, mhanline@ppa.com
Pete Rezac, M.Photog.Cr., CPP, prezac@ppa.com
Makayla Jade Harris, mharris@ppa.com
Trish Gilmore, CPP, tgilmore@ppa.com
George Joell III, Cr.Photog., gjoell@ppa.com
Larry Lourcey, M.Photog.M.Artist.Cr., CPP, llourcey@ppa.com

Chief Executive Officer David Trust, CAE, trustd@ppa.com

Chief Financial Officer / Chief Operating Officer Scott Kurkian, CAE, skurkian@ppa.com
Director of Certification Julia Boyd, CAE, jboyd@ppa.com
Director of Events Fiona Corbett, CMP, fcorbett@ppa.com
Director of Publications Jane Gaboury, jgaboury@ppa.com
Director of Membership Kristen Hartman, CAE, khartman@ppa.com
Director of Sales and Strategic Alliances Wayne Jones,wjones@ppa.com
Director of Education Angela Kurkian, M.Photog.Cr., CPP, akurkian@ppa.com
Director of Information Technology and Administration Scott Morgan, smorgan@ppa.com
Director of Marketing and Communications Carla Plouin, cplouin@ppa.com
Executive Assistant Leanne Bradley, lbradley@ppa.com

PPA MEMBER SERVICES

Professional Photographers of America, csc@ppa.com, ppa.com, (800) 786-6277
EDITORIAL OFFICES
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SUBSCRIPTIONS
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Professional Photographer, official journal of Professional Photographers of America Inc., is the oldest exclusively professional photo-
graphic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly,
St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, and Professional Photographer Storytellers.
Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers
of America Inc. Acceptance of advertising does not carry with it endorsement by the publisher.

Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year (U.S. rate) by PPA Publications and Events Inc.,
229 Peachtree Street, NE, Ste. 2300, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.
POSTMASTER: Send address changes to Professional Photographer magazine, P.O. Box 7126, St. Paul, MN 55107.
Copyright 2020, PPA Publications & Events, Inc. Printed in U.S.A.

4 PROFESSIONAL PHOTOGRAPHER
 CONTENTS July 2020

©KEN FRIBERG
56
COURTESY SONY

©WILLIAM CASTELLANA

42

76
6 PROFESSIONAL PHOTOGRAPHER
 In Every Issue
8 Editor’s Note
18 Giveaway
22 On the Cover
22 Merited
86 President’s Message
86 Perspective
88 Affiliate School Calendar
90 Final Frame

Foreground
11 Beauty Amid Crisis:
Resilience in the wake of violence
12 Portraits of Heroism:
In the age of pandemic
14 Path of Most Resistance:
A macro pivot while social distancing
By Emmalee Schaumburg, CPP

16 Nature in Black-and-White:
Top winners in garden photo competition

Success
©JAI MAYHEW

29 Developing Resilience:

66 5 keys to building resilience

30 Pleasing the Impossible to Please:
How to manage expectations,
even for your most difficult clients

Features By Jeff Kent

34 A Different Kind of Different:

56 Works Well with Others Creating a brand that resonates
By Jeff Kent
Ken Friberg is a master collaborator
By Robert Kiener
The Goods
66 Fair Vanity
41 A Workhorse with Speed:
Magazine-worthy portraits for non-model clients
Nikon D6
By Amanda Arnold
42 Best-in-Class ... for Some:
Sony a7R IV review
76 Intriguing Adventures By Ellis Vener
William Castellana’s still life storytelling
46 Time-Lapse Made Easier:
By Eric Minton
Timelapse+ View
By Brian Akerson

50 How to Enhance the Sky:

Luminar 4.2
By Stan Sholik

PPMAG.COM JULY 2020 7

 E D I TO R ’ S N OT E

No Going Back
RESILIENCE KEEPS US MOVING FORWARD
I used to think of resilience as the ability to bounce back—to fall off the horse
and hop back into the saddle, as it were. I saw it as an opportunity to overcome
a setback, return to the task at hand, and carry on down the path. But if recent
months have taught me anything (and, boy, have I been taught some things) my
understanding of resilience has changed. It’s not the ability to bounce back after a
setback. It’s the ability to gather our strength and bound forward.
The logical part of our brains knows there’s no going back in time. And yet
that’s often where our sentiment take us. (“I can’t wait for things to get back to
the way they were.”) But there’s never
been an opportunity to go back, and
let’s thank 2020 for at last making that
We can interpret setbacks
abundantly clear. as opportunities for growth
It’s important that we embrace this
rather than game-enders.
truth because it frees us from being
mired in a fantasy of returning to an old
reality. Throughout our lives, we face adversity and stress. Some of us survive trau-
©EDDIE TAPP

ma. But resilience gives us the power to move beyond life-altering changes and
bad outcomes. We can interpret setbacks as opportunities for growth rather than
game-enders. We can respond to failure with creative problem solving. We can
think back to past struggles and recall how well we adapted and thrived. The strength
editors@ppa.com @ppmagazine is within us to choose to move forward, learning and growing stronger in the process.
The best part is that we don’t even have to be optimists or have natural resilience
@ppmagazine @professionalphotographer_mag (whatever that is) to make this happen. We can elect to get off the emotional roller-
coaster and take charge.
In the 1980s, research psychologists at the University of Chicago studied employ-
ees of Illinois Bell Telephone, which was involved in one of the biggest deregula-
tion cases in American history. Of the more than 26,000 employees, half were laid
off. The remainder went through large upheavals at work. Researchers found that
the enormous stressors had created a group of workers who suffered significant
performance and health declines. But there was another group of workers who
were healthy, happy, and enthusiastic. What this second group had in common
were three key beliefs: commitment, control, and challenge attitudes. Their
commitment led them to be involved in events rather than to feel isolated. Their
sense of control led them to struggle to try to influence outcomes rather than feel
powerless. Their challenge attitude led them to view stress as learning opportuni-
ties. They were, in a word, resilient.
We’ve prepared an infographic for this issue that offers some ideas about how to
nurture that characteristic in ourselves (“Developing Resilience,” page 29). These
are just a few insights that might help us cultivate productive responses to adversi-
ty. We often have no control over events that affect our lives, but we can control the
way we see the world and how we respond. Will we allow hardships to crush us, or
will we commit to controlling what we can, letting go of what we must, and moving
forward? •

Jane Gaboury
Director of Publications

8 PROFESSIONAL PHOTOGRAPHER
WE’RE HERE
FOR YOU! ... And Going Strong!
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 Lifelong learning,
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PPA.com/Edu
 FOREGROUND
By Amanda Arnold
Beauty Amid Crisis
RESILIENCE IN THE WAKE OF VIOLENCE
A young man recites poetry amid a crowd of chanting pro-democracy
demonstrators whose mobile phones illuminate the scene. Yasuyoshi
Chiba’s image “Straight Voice” was selected by the World Press Photo
Foundation as 2020 World Press Photo of Year in its 63rd annual
World Press Photo Contest.
The photo was made July 19, 2019, in Khartoum, Sudan, in the wake
of a military massacre of nonviolent protestors calling for civilian rule.
At the time the photo was made, authorities had imposed an internet
shutdown to make it more difficult for protestors to communicate
and convene.
©YASUYOSHI CHIBA
“This moment was the only peaceful group protest I encountered
during my stay,” says Chiba, who is Agence France-Presse’s chief
photographer for East Africa and the Indian Ocean, based in Nairobi,
Kenya. “I felt their undefeated solidarity like burning embers that
remain to flare up again.” By August 2019, the pro-democracy move-
ment had reached a power-sharing agreement with the Sudan military.
Lekgetho Makola, the photo contest’s jury chair, liked that the photo
offers inspiration in the midst of conflict. “We see this young person,
who is not shooting, who is not throwing a stone, but reciting a poem.
It’s acknowledging but also voicing a sense of hope.” •
PPMAG.COM JULY 2020 11
 FOREGROUND

Portraits
of Heroism
IN THE AGE OF PANDEMIC

As the coronavirus swept through the

nation, photographer Javon Longieliere,
Cr.Photog., CPP, did what children’s
TV host Mister Rogers once advised:
He looked for the helpers. Longieliere
launched a portrait series to highlight
good Samaritans in his community
of Valdosta, Georgia. At press time
Longieliere had photographed nearly
400 frontline workers—from nurses to
teachers and librarians to caterers—for
his series “Hometown Heroes.”

David Retterbush, M.D., general surgery, Randy DeCoudres, owner of Friends Grille & Bar,
South Georgia Medical Center Salty Snapper, and Woodstack

“These are the

people who keep
our community
going while so
many are required
to shelter in place
at home.”

Charles McEady, deputy sheriff, Shelby Walker, nurse,

Lowndes County South Georgia Medical Center

THE SETUP: “Knowing some of the locations would be busy as well as tight, I needed the
footprint to be small and the setup and tear down to be quick and mobile,” photographer
Javon Longieliere explains. He settled on a white backdrop for the subjects to connect them
visually and two lights: one for the background and one key light modified with a Westcott
24-inch beauty dish. He wanted strong shadows and a gritty look, so no fill light was used.

12 PROFESSIONAL PHOTOGRAPHER
 IMAGES ©JAVON LONGIELIERE / longieliere.com
Dawn Longieliere, Brad Cartee, Lowndes County Fire Department Chris Herbert, reporter, Valdosta Daily Times
neuromuscular massage therapist

Juliana Powell, executive pastry chef, Friends Shonda Miller, medical assistant, Craig Bishop, M.D., doctor,
Grille & Bar, Salty Snapper, and Woodstack Constant Care Valdosta Family Medicine

THE SESSIONS: Longieliere pre-arranged his visits with
each organization and was given a health screening when he
arrived. He wore a face mask during his sessions, and he set
up his background and gear for physically distanced photogra-
phy. Employees who wanted to participate simply signed a
model release and stepped in front of the background.
“The whole process takes just a few seconds,” he says. “Yes,
they are fatigued. Yes they are emotionally exhausted. But for so
many of them, they still laugh and enjoy the brief respite from
the new normal.” •

PPMAG.COM JULY 2020 13

 FOREGROUND

Path of Most Resistance

A MACRO PIVOT WHILE SOCIAL DISTANCING

By Emmalee Schaumburg, CPP

Being a portrait photographer during a time

of social distancing and stay-at-home orders
has been challenging, to say the least. In 2012,
I opened my first brick-and-mortar studio and
concentrated on portraiture. I never would
have thought I’d be forced to stay at home and
temporarily stop doing what I love.
While portrait photography is my primary focus
and source of income, I also enjoy macro photog-
raphy—specifically photographing elements from
nature. When traveling and hiking, I pack my Canon
EOS 5D Mark IV and Canon EF 100mm f/2.8L Macro
IS USM lens. On the trail I stop whenever I see some-
thing of interest and make an image. If I’m hiking
with other people this tends to slow us down. So
while stuck at home, I started thinking about my
IMAGES ©EMMALEE SCHAUMBURG / schaumburgphotography.com/fine-art

love of traveling and hiking and how I could use

this passion to create another source of revenue.
I began exploring my backyard on a macro level,
bringing elements into my home studio to
photograph—dried magnolia leaves that drifted
into my yard from my neighbor’s trees, skeleton
leaves with delicate veining patterns, dandelions,
acorns, etc. I wouldn’t have explored the beauty
of any of these lovely specimens if I hadn’t been
forced to stay at home. My passion didn’t stop at
the image making. I began developing a fine art
section on my website. I added commerce, created
a price list and product offerings, and used N-Vu
client gallery software to show how my work
would look on the walls of offices and homes.
Producing fine art photography has always
been a dream. I’ve wanted to work with galleries

14 PROFESSIONAL PHOTOGRAPHER
and print images on a large scale, but I’ve never
carried the idea through. As Steven Pressfield
writes in “The War of Art”: “The more important
a call or action is to your soul’s evolution, the
more resistance we will feel toward pursuing it.”
Lack of time and fear of failure were at the root
of my resistance. Running a successful studio
takes a lot of time, and I felt I didn’t have the
freedom to explore my fine art dream. But while
I’ve been at home, I’ve had time on my hands.
In his book, Pressfield goes on to say, “Resistance
is directly proportional to love. If you’re feeling
massive amounts of resistance, the good news
is, it means there’s tremendous love there, too. If
you didn’t love this project that is terrifying you,
you wouldn’t feel anything. The more resistance
you experience, the more important your unmani-
fested art/project/enterprise is to you, and the more
gratification you will feel when you finally do it.”
Once I published this collection of fine art pho-
tography online, I was flooded with gratification.
I’m thankful this passion kept calling me, and I’m
happy I answered. This collection takes an abstract
look at the beauty of nature. I plan to continue
down this path, exploring nature and the fine art
world. My hope is that we come out of this economic
downturn stronger and driven to do what brings
us joy—maybe with a bit more motivation, a bit
more hustle. Take this time to discover what it is
you’re resisting and pursue it. •

Emmalee Schaumburg owns Schaumburg

Photography in Lawrence, Kansas.

PPMAG.COM JULY 2020 15

 FOREGROUND

Nature in Black and White

TOP WINNERS IN GARDEN PHOTO COMPETITION

Anne MacIntyre’s white-on-white “Ethereal Cosmos” won first place in the 2020 Black & White Photo Project competition, a subsection of the Interna-
tional Garden Photographer of the Year competition and exhibition. Photographer Alan Price won second place, and Allan Wright won third. •

“ETHEREAL COSMOS”
BY ANNE MACINTYRE

PHOTOGRAPHER’S NOTE:
“After having recently
painted my summerhouse
white, I decided to capture
these delicate cosmos
flowers, creating the vivid
white tones of this black-
and-white composition.”
LOCATION: St. Albans,
England, United Kingdom
CAMERA & LENS: Canon
EOS 7D, Canon EF-S 18-
135mm f/3.5-5.6 IS USM lens
EXPOSURE: 1/40 second at
f/11, IS0 320

©ANNE MACINTYRE

16 PROFESSIONAL PHOTOGRAPHER
 Lifelong learning
isn’t a sprint
You know where you want to go.
Getting there... that’s not always so easy.
©ALAN PRICE

Take the right steps with PPA’s new curriculums.

Classes designed for photographers just like you
no matter where you are on your journey.
“LONG-TAILED TITS”
Lace up. We’ve got your back.
BY ALAN PRICE

PHOTOGRAPHER’S NOTE: “This fluffy

couple of long-tailed tits were taking a
short break from nest building. That’s
when I photographed them, forever
immortalizing their moment together.”
PPA.com/Edu
LOCATION: Gwynedd, Wales, United
Kingdom
CAMERA & LENS: Nikon D7100, AF-S
Nikkor 300mm f/4E PF ED VR lens
EXPOSURE: 1/500 second at f/8, IS0 1000

Neuw
lums
Curric
for PPA
©ALLAN WRIGHT

ers
Memb

“TWIN OAK DAWN”

BY ALLAN WRIGHT

PHOTOGRAPHER’S NOTE: “On a misty

morning in May, the presence of a pair of
iconic oak trees was amplified by backlit
sunshine and partly framed by the glisten-
ing of cobweb-laden gorse bushes.”
LOCATION: Galloway, Scotland, United
Kingdom
CAMERA & LENS: Nikon D7000, AF-S
Nikkor 24-70mm f/2.8G ED lens
EXPOSURE: 1/320 second at f/10, IS0
FOREGROUND

JULY GIVEAWAY

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Epson put the best of its wide-format printer technology into the 13-
inch SureColor P700 desktop printer. It’s the smallest 13-inch printer
in its class and boasts innovations such as 2.4 and 5 Ghz wireless
networking, a large 4.3-inch touch screen control panel, and a new
10-channel print head with dedicated channels for matte black and
photo black so there’s no need to switch ink cartridges.
New Epson Media Installer software eliminates the frustration
of determining settings and profiles. Instead, it’s just one step to
download media settings, install a profile, configure the printer and
media parameters, and create driver settings. To print, select your
media, and the printer and printer driver make the adjustments. The
Epson SureColor P700 is compatible with the new updated Epson
Print Layout software, providing a color managed printing application
for iOS devices.
The MicroPiezo AMC Print Head is designed to last the life of the
printer and boasts an ink-repelling coating that reduces the chances
of nozzle clog. The printer uses Epson UltraChrome Pro10 10-color ink
sets in 25 mL cartridges.
The Epson SureColor P700 is priced at $799 •

ENTER TO WIN A
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 MERITED

ON THE COVER

Angry Red Meets Mello Yellow

Jim Paliungas
Palimor Studios
Camarillo, California

CAMERA & LENS: Canon EOS

5D Mark III, Canon 24-105 f4L IS
USM lens
EXPOSURE: 1/125 second at f/4,
IS0 2000
LIGHTING: Two overhead room
light panels acted as a giant soft
box, and the direction of light
allowed for shadow detail behind
the subject and under her arms.
Jim Paliungas used a 10-inch
adjustable Viltrox FL-500T LED
light as a kicker to light the sub-
ject’s face. The LED was mounted
on a monopod and encircled with
Cinefoil to create a spotlight shape.
He adjusted the LED’s color tem-
©JIM PALIUNGAS / palimorstudios.com

perature to match the room light

at 3,200K. “I felt I would make
any overall micro adjustments
for color in post, but I wanted the
exposure dialed in,” he explains.
An assistant held the LED directly
in front of and above the subject
at a 45-degree angle 3.5 feet
from the subject. He had the
assistant turn the light to avoid
any spill on the wall.
POST-CAPTURE: In Adobe
Lightroom Paliungas adjusted
contrast, saturation, and color to
add warmth, and used Define in
Nik Collection Filters to reduce
noise. “The shot was originally
taken vertically, which worked
well, but I later felt it didn’t
fully convey the strength and
story in the image I wanted.”
So he used Adobe Photoshop
to expand the wall in the image
farther to the right. He removed
several wrinkles in the dress and
eliminated chiffon fabric that
he found distracting. He used
Liquify to smooth and make some
adjustments to her body. Final
adjustments included blemish
removal, skin smoothing, and eye
and cheekbone enhancements.

ABOUT THE LOAN COLLECTION: The current Loan Collection comprises more than 600 photographs chosen by jurors of PPA’s International Photographic
Competition. The compositions are considered the best of the best in contemporary professional photography, having been awarded the Loan Collection distinction based
on their success in meeting the 12 elements of a merited image. ppmag.com/12-elements

22 PROFESSIONAL PHOTOGRAPHER
Basket of Cuddles

©AMY JOHNSON / muddypawsphotos.com

Amy Johnson
Muddy Paws Photography
Evergreen, Colorado

CAMERA & LENS: Nikon D810, AF-S NIKKOR 24-70mm f/2.8G ED lens
EXPOSURE: 1/160 second at f/8.0, IS0 100
LIGHTING: The main was an AlienBees B800 with a 3-foot hexagonal soft box;
the fill was an AlienBees B800 with a 5.5x3.5-foot rectangular soft box; and the
backdrop light was an AlienBees B400 with barn doors.
POST-CAPTURE: In Adobe Photoshop, Amy Johnson cut out the dogs and basket
using Topaz ReMask and added some brightness variation to the backdrop. She ran
Topaz Impression for a painted look and finished with a high-pass filter to brighten
the eyes and noses.

PPMAG.COM JULY 2020 23

MERITED

©ALISON MONTGOMERY / alliemportraits.com

Baby Moses
Alison Montgomery, Cr.Photog., CPP
Allie M Portraits
Cypress, Texas

CAMERA & LENS: Canon EOS 6D, Sigma Art 35mm F2.8 Prime lens
EXPOSURE: 1/160 second at f/2.8, IS0 100
LIGHTING: Alison Montgomery used one Bowens Gemini GM500R Strobe with a 64-inch Wescott PLM
with a black cover and diffusion panel placed above the baby’s head. The bottom of the PLM was about
18 inches off the floor.
POST-CAPTURE: Montgomery opened the image in Adobe Camera Raw, adjusted the white balance,
enabled profile corrections, brought up the contrast, and brightened the skin with the orange channel
in the luminance. She then moved it into Adobe Photoshop, where she cleaned the skin with the patch
tool, ran Imagenomic Portraiture, reduced the opacity, and evened out the background. Later she
enhanced the shadows and highlights then digitally painted the image using the mixer brush.

24 PROFESSIONAL PHOTOGRAPHER
 She Waits
Karen Doody
Karen Doody Photography
Morehead, North Carolina

PHOTOGRAPHER’S NOTE: “As the bride

started toward the staircase to go down for the
ceremony, she paused and looked over the rail to
see if the coast was clear to proceed,” explains
Karen Doody. “I was behind her in a very narrow
and extremely short hallway, holding her train as
she walked. Directly in front of her was a large
window, and the cream colored walls and ceiling
were awash with bright light. My camera was set
on aperture priority from my previous work in the
other room. No time for adjustments. I dropped
her train, asked her to stay still for one moment,
stepped back until I was against the wall, and had
one second to raise the camera, lock focus, and
press the shutter before she continued down. I
knew there was a good image there but imagined
it would be a complete silhouette. Fortunately
I was able to take it further. I consider this a
perfect example of being constantly prepared for
those magical candid moments on wedding day.”
CAMERA & LENS: Nikon D750, Tamron SP
24-70mm F/2.8 Di VC USD lens
EXPOSURE: 1/40 second at f/3.2, IS0 400
LIGHTING: Available light
POST-CAPTURE: In Adobe Lightroom she
processed the raw image, adjusted the perspective,
cropped the image and converted it to black-
and-white, dodged and burned, sharpened, and
applied clarity. She moved the image to Adobe
Photoshop for cloning to tidy up the base of the
dress and remove irregularities in the walls.
©KAREN DOODY / karendoody.com

PPMAG.COM JULY 2020 25

 MERITED

Kiss Me
Shinichi Shimomiya
Nagano, Japan

PHOTOGRAPHER’S NOTE: The photo was made during cherry blossom season in Yodagiri Park, where the couple first kissed.
CAMERA & LENS: Sony a7 III, Sony FE 70-200mm F2.8 GM OSS lens
EXPOSURE: 1/250 second at f/4.5, IS0 100
LIGHTING: Shinichi Shimomiya used a Godox AD200 as a back light to complement the natural cloudy daylight from above.
POST-CAPTURE: He used Adobe Lightroom and Photoshop to adjust hues and exposure and erase unnecessary details.

©SHINICHI SHIMOMIYA / simomi.com

26 PROFESSIONAL PHOTOGRAPHER
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SUCCESS

Developing Resilience
The ability to face adversity with strength and grace is a gift. Or maybe it’s a matter of training. Resilience—the ability to recover and move
forward—is a powerful characteristic, and psychologists say it’s one we can learn to be become better at.

1. DEEPEN YOUR CONNECTIONS.

Although we may tend to respond to stress by
drawing inward, connecting with understanding
family and friends helps us recognize that
we’re not alone. Bonding with people who
genuinely care about us provides comfort and
a sense of belonging.

5 Keys to 2. FOSTER WELLNESS.

Stress takes a toll on our mental and physical
Building Resilience health. A positive lifestyle that accounts for
nutrition, sleep, and exercise helps our bodies
adapt. Mindfulness practices such as journaling,
yoga, and meditation can help break negative
ruminations that arise when we’re anxious.

3. FIND PURPOSE.
When we devote time to assisting others, we’re
more apt to feel a renewed sense of purpose.
A greater sense of purpose can also come
through self-reflection: Thinking deeply about
our motivations allows us to set goals—even
small daily goals—that inch us ever forward.

4. EMBRACE HEALTHY THOUGHTS.

Accepting that adversity is part of life allows
us to see beyond our immediate stress to what
we might learn from unfortunate events.
Thinking about how we’ve handled previous
troubles reminds us of our tenacity and our
ability to grow through hardship.

5. SEEK HELP.
No one gets through the challenges of life
alone. Trauma, depression, or the feeling of
being stuck with no path out may signal that
it’s time for expert assistance. A mental health
professional or support group could be the key
to moving forward in the quest for resilience.
Source: American Psychological Association / apa.org

PPMAG.COM JULY 2020 29

 SUCCESS
Pleasing the Impossible to Please
HOW TO MANAGE EXPECTATIONS, EVEN FOR YOUR MOST DIFFICULT CLIENTS
By Jeff Kent
Everyone has expectations, and they carry
those assumptions into every situation.
Expectations that are reasonable to one per-
son may be utterly absurd to another. Still,
photographers, like all small businesspeople,
need to manage clients’ expectations to build
good working relationships and provide a
positive customer experience.
Marc Gordon, speaker, marketing consul-
tant, and internationally recognized expert
on customer experiences, says that manag-
ing expectations begins with understanding
client assumptions.
UNDERSTANDING EXPECTATIONS
Gordon categorizes expectations as based on
fact, fiction, or imagination:
• Fact. Factual expectations are based on
any experience a person has had in the past.
• Fiction. Fictional expectations are based
30 PROFESSIONAL PHOTOGRAPHER
on influences presented by someone else.
Those influences could be positive or nega-
tive, but they are largely biased because when
people share their experiences with others
they focus on what they feel is important.
• Imagination. Expectations based on
imagination come from an organic perspec-
tive that encompasses everything someone
has seen or heard since the day they were
born. For example, let’s say you grew up
in a very traditional family of doctors and
lawyers, and everyone working outside
of those professions was seen as part of a
fringe occupation that was less reliable. The
imagined expectations by someone from this
background would put a photographer in the
difficult position of having to verify their reli-
ability and professionalism rather than being
assumed to be reliable and professional.
“It’s critical to establish expectations early
on by understanding what beliefs the client is
bringing with them and then either challeng-
ing those beliefs or agreeing to work within the
confines set by the client’s expectations,” says
Gordon. “For the latter, you’re essentially agree-
ing to produce what’s already in the client’s head,
not what your artistic inspiration dictates.
And you need to decide if that’s acceptable.”
To establish and address expectations,
Gordon urges photographers to pursue full
disclosure at the beginning of every client re-
lationship. In most new client conversations,
the photographer asks a lot of questions
pertaining to the project. What is the event?
What do you want us to photograph? What
kind of images do you like?
“Those aren’t the questions you should
start with,” says Gordon. “You should start
with, Have you ever worked with a photogra-
pher before? How did you find out about me?
 © Mike Fried
Say “I do” to PPA’s New Degree!
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“Most people can be pleased.

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More from Marc Gordon

marcgordon.ca

May I ask who your last photographer was?”

Based on their responses, you can start
to classify their expectations as fact, fiction,
or imagination, and then respond accord-
ingly. “It’s really about getting a dialog going
and getting to know people,” says Gordon.
“Within a few minutes you may realize that
someone is bringing in totally unrealistic
expectations—could be related to price or the
specifics of the shoot. There is a lot of infor-
mation they can give you before the contract
is signed, and you can decide if this is the
journey you want to embark on.”
It’s a two-way street. You need to know
what’s expected of you, and you have to let the
client know what you expect of them. So talk
about the fundamentals of what you do from
the start. If you don’t, you give up your author-
ity over the creative process. The assignment
stops being an artistic venture and turns into
PPA.com/
Wedding-Degree
 SUCCESS
a commodity exchange. It’s important to let
customers know up front what they can and
cannot have. When you let them know what
you can deliver and how you can deliver it,
that will qualify or disqualify people right away,
which potentially saves you a lot of time later.
PLEASING THE IMPOSSIBLE TO PLEASE
Everyone’s encountered fundamentally difficult
clients who are simply impossible to please.
Or are they?
“Most people can be pleased,” argues Gor-
don. “The problem is that no one comes out
and asks them, ‘What do you want?’”
A lot of professionals will view some clients
as impossible to please, but the underlying
issue is that these clients don’t understand
what they’re getting. So when they see it,
they’re unhappy. Photographers, like many
specialized professionals, can fall into the
trap of using jargon that’s not clear to clients.
Clients will often simply nod their heads
and smile because they don’t want to appear
32 PROFESSIONAL PHOTOGRAPHER
stupid or uninformed. Then they’re unhappy
when they see the final product because it
doesn’t match their unvoiced expectations.
Problems arise when the service provider
guesses or assumes what clients want because
the provider hasn’t solicited specific feedback
from the client. Then there are misunder-
standings. So start from a basic level. “No cli-
ent will ever complain that you made things
super clear and easy to understand,” says
Gordon. “Talk about things like you’re talking
to a child who has never seen a camera be-
fore. Go slowly, establish understanding, and
get approvals at every step.”
When you communicate this way, the onus
falls on the client to explain what they like
and don’t like. If the client explains what they
really want, they have less room to be disap-
pointed and complain later.
KEEP CLIENTS COMING BACK
Gordon points to three key concepts that
keep people coming back to your business,
happily: ease, convenience, stress-free.
We all understand ease and convenience,
but maybe you’ve never considered how a
photographer could unintentionally intro-
duce stress into the client relationship. When
something is late, when something unexpect-
ed arises, when a client feels unsure, all these
are stress inducing. In an easy, convenient,
and stress-free client experience, the client
shouldn’t have to worry about anything.
Think of it like a concierge level of service.
Part of delivering this type of experience
is the regular check-in. Communicate often,
even if you’re checking in to tell people you
have no updates. Keep them in the loop so
they’re not left wondering.
“Ultimately, you need to deliver what you
say, when you say,” says Gordon. “And if you
can’t, then explain why and offer other op-
tions.” However, delivering on your promises
does not mean overdelivering. “In fact, I
would recommend not overdelivering,” adds
Gordon. “Numerous studies show that when
you give customers more than expected, it
will have no impact on their loyalty or the
quality of experience. When people get things
they didn’t expect or even know about, they
don’t place any intrinsic value on those extra
items. And when they don’t value something,
it doesn’t affect their experience.”
For example, a family orders a set of prints.
You deliver them, and you also custom frame
all the prints as a free bonus. The family will
notice that it was a nice touch, but they have
no concept of the value of that extra expense,
and it doesn’t lead to a better experience in
their mind—certainly not one that warrants
the added effort and expense on your part.
“Sticky spots in a business experience—
things that didn’t go as smoothly as they
should—those are what people remember,”
explains Gordon. “Consistency is key. That’s
more important than going above and be-
yond. Treat people well and give them what
they expected. That’s the definition of consis-
tency for a business. If you’re going to offer
something extra, offer it across the board and
do it in a manner that is consistent, manage-
able, and affordable.”

SET YOUR STANDARD

To move toward meeting more client expec-
tations, start by creating a set of standards for
the business. Consider what kind of photog-
rapher you want to be. Do you want to be
known as high-end or budget? Known for
service? For skill? For speed?
You can’t do it all, so determine where you
should set your focus. Then write down what
that level of service entails. What makes you
the kind of photographer you want to be?
What is included? What kind of experience
will you deliver?
“You must be who you say you’re going to
be,” says Gordon. “If you want to be a budget
photographer but compete with the service
and deliverables offered by premium photog-
raphers, you’ll put yourself out of business.”
So choose carefully, and then do what you
say you’re going to do. When clients can trust
in your ability to deliver and in the consis-
tency of the experience you provide, you’re
already most of the way there when it comes
to effectively managing expectations. •
SUCCESS
A Different Kind of Different
CREATING A BRAND THAT RESONATES
By Jeff Kent
For a long time, there’s been a movement
around differentiation. The idea is that being
different helps distinguish you in the market,
which can perhaps make you more success-
ful. Well-intentioned business experts have
created volumes, courses, webinars, keynote
speeches, articles, books, and videos—all
teaching people how to be different.
Then everyone took the advice and every-
one’s different became the same.
So if we’re all different in the same way,
34 PROFESSIONAL PHOTOGRAPHER
what sets anyone apart? How do you cut
through this constant quest for differentia-
tion and create a brand that resonates?
Michael Roderick, business consultant,
speaker, and owner of Small Pond Enterpris-
es, says the key is referability. Referability is
a concept that describes how much people
talk about you and your business when you’re
not in the room. Is your brand referable?
What do people say about you? And, how do
you create a referable brand that people talk
about in positive terms even when they’re
not prompted?
Roderick says there are three principles
behind establishing referability: accessibility,
influence, and memory.
ACCESSIBILITY
“Are you using language that people outside
the industry will understand?” asks Roderick.
“If it’s too much insider talk, then you’re not
going to be able to show as much value to
your audience. Instead, find productive ways
to communicate with your audience in terms
they can follow.”
How? Ditch the technical talk about tech-
nique, equipment, and post-production and
position your communications around the
core concepts that interest your clients. Focus
on these three goals:
1. Solve a problem. Explain how you will
solve a problem your client is experiencing.
2. Alleviate pain. What are people not en-
joying about the typical process and how can
you get rid of it?
3. Decrease friction. What is slowing down
the process? This is often about creating a
shorter timeline. “Give people their time back,
and they will reward you,” says Roderick. “Most
people are happy to trade time for money.”
INFLUENCE
“A lot of people think about influence in
the context of trying to get someone to do
something,” says Roderick. “But for your
brand, you should think about it in terms of
whatever makes your client look good. When
you make them look good, they will share it,
and your business will benefit.”
Always consider what you can do to make
your client look better in their community.
When you do that and you make your work in-
herently shareable, then you’re going to be the
photographer who comes up in conversation.
This leads into the concept of associative
leverage. Think about how you can leverage
your professional associations to help your
business appear more substantial. If you’ve
worked with a brand, and you put yourself
out there in association with that brand,
then people are going to associate you at
the same level.
“Always think about the associations you
have that will give people a shortcut to your
influence and ideas,” suggests Roderick.
“Everybody has something in their back-
ground—could be where you went to school,
could be a big project with a high-profile
client, could be a professional association like
PPA—that will tell people they can trust you.”
Another way to increase your influence
is to become an innovator in your field.
This doesn’t necessarily mean inventing a
new technique or technology. It could be as “J.K. Rowling introduced a number of new they’re going to remember it. Think about
simple as codifying your own unique way of words into the English language. Those words your communications and processes from
doing things and then communicating that to got shared and helped raise the profile of the the client’s perspective. What is a logical
potential clients. books. Or think all the way back to Shakespeare. starting place? Put things in a sequential
“If you create your own intellectual prop- There are words in the English language that order to help people understand.
erty, your own way of thinking about things exist because Shakespeare put them there.
and doing things, then you’re a step ahead Shakespeare is certainly memorable.” CUTTING THROUGH THE NOISE
of everyone who’s just a technician,” says • Emotion. Emotion solicits memory. “If To break through the buzz, start from a
Roderick. “If you’re just taking pictures with I’m feeling something when I’m looking at perspective of who you want to serve first,
no distinct methodology, then you’re going to your material, I’m much more likely to remem- recommends Roderick. The problem is that
lose to the person who’s spent time develop- ber it,” says Roderick. “When you’re creating everyone wants to blast out messages to
ing their own process.” content, it’s important to remember how you’re everyone, shouting Here I am! and Here’s
using emotion. Images that work on an emo- what I offer! That approach isn’t customized
MEMORY tional level are much, much more memorable.” enough for today’s marketplace. A solution
People share what’s easiest to remember. If you • Simplicity. We tend to remember only for everyone is a solution for no one.
want people to remember you, think LESS: a certain amount of information at a given Take a step back. Who do you want to
• Language. Whenever someone comes up time. Clients are more likely to remember reach first? Gear your communications to
with their own language for something, it’s something that’s simple. that specific audience so they feel like you’re
easier to remember and share. “Think about the • Structure. If you create a logical struc- speaking directly to them. The more you dig
Harry Potter book series,” suggests Roderick. ture for people to look at your material, then into the audience you want to serve first, the

PPMAG.COM JULY 2020 35

 SUCCESS
more targeted your content will be. The more
targeted your content is, the more you’re
going to find people who are focused on what
you do best.
Following this process doesn’t mean you
have to practice a narrow specialty to set
yourself apart. “If you’re in a small market
and need to do different kinds of work to
generate enough revenue, then think more
about specializing in a process instead of
specializing in a particular kind of work,” says
Roderick. It’s less about being a pet photog-
rapher who specializes in iguanas, and more
about being someone who’s created a special-
ized process, a particular way of doing things.
“The more targeted your
content is, the more you’re
going to find people who
are focused on what you
do best.”
More from Michael Roderick
smallpondenterprises.com
36 PROFESSIONAL PHOTOGRAPHER
People can recognize your unique approach—
and the value it holds—and will consider
whether that approach can be applied to
different types of work.
QUESTION ZERO
Start with question zero: Why are you doing
this? Your brand and all your ideas will come
from the answer to that question. If your
answer is “to pay the bills,” then it’s going to
be difficult to create a brand. However, if you
have an inspiration for why you do what you
do, you can generate ideas about how you can
help solve clients’ problems, alleviate their
pain, and reduce friction.
“Most of the mistakes I see people make
stem from never taking that first step of
asking what they can do for their clients and
how they can make their clients’ lives better,”
says Roderick. “How you approach those con-
siderations will help define your brand and,
ultimately, differentiate you in your field. We
are living in an interesting time.”
“One of the most important factors for
success is having your own, distinct brand.
We can’t hide under the umbrella of another
brand. We have to think about what we are
putting out there in the world and how it’s
going to help everyone else. That’s how you
begin to set yourself apart.” •
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 THE GOODS
A Workhorse with Speed
The Nikon D6 takes its place as the flagship DSLR with Nikon’s most
powerful autofocus system to date, featuring 105 selectable cross-type
AF points to help capture the moment even in challenging conditions.
With the promise to be an uncompromising workhorse, the FX
format Nikon D6 is engineered to work fast and shave time off your
workflow. The Expeed 6 processor is Nikon’s fastest, most compre-
hensive image processing engine to date.
Features and upgrades deliver versatility, reliability, and new capa-
IMAGES COURTESY NIKON / nikon
usa.com
bilities. Continuous shooting speed is up to 14 frames per second.
A new 180K-pixel Scene Recognition System fine tunes autofocus
and exposure. Workflow advances include 14 buttons that can be
personalized with up to 46 functions, instant access to presets, and
button-free image annotation, voice memos, and image transfer.
Other features include 16:9 4K Ultra HD capture, silent capture in
Live View, illuminated controls, dual media cards slots for CFexpress
or XQD memory type cards, Focus Shift Mode, and built-in Wi-Fi and
GPS. Suggested retail price for the body is $6,499.95,
PPMAG.COM JULY 2020 41
THE GOODS

Best-in-Class ... for Some

SONY A7R IV REVIEW

By Ellis Vener

At the heart of Sony’s a7R IV

flagship high-resolution camera
is a full-frame 61-megapixel
(effective resolution) sensor.
Paired with high-quality lenses
at base to moderate ISO settings,
this compact mirrorless delivers
the best overall image quality of
any comparable camera that I’ve

COURTESY SONY / sony.com

used so far. The autofocus system
is fast and accurate, and the in-
body five-axis sensor stabiliza-
tion system works well. Sony
has put a lot of work into fixing
most of the handling problems
that bothered me with earlier a7
series cameras.
Careful photographers will
be hard-pressed to find a better
compact camera on the market
today. That’s not to say the a7R
IV isn’t without some issues.
For example, there’s no way to
see shutter speed, ISO, white

Pros
• Exceptional image quality and color in lower ISO range
• Fast, accurate autofocus and eye tracking
• Effective in-body image stabilization
• Extremely high resolution option for still subjects
• Improved ergonomics

Cons
• No top-deck LED display
• Electronic noise at moderately high ISO
• SDXC media only
• Some functions buried in menu

42 PROFESSIONAL PHOTOGRAPHER

balance, f-stop, and other crucial
information except by looking
through the EVF or at the size-
able tilt-out LCD on the camera
back. The menu organization
could be much better, and even
at moderately high ISO settings,
even lower mid-tones are unex-
pectedly noisy.
Sony pioneered full-frame
mirrorless cameras in October
2013 with the 24.3-megapixel a7
and 36.4-megapixel a7R cameras.
The fourth iteration of the a7R
series is also the third of the se-
ries to use a backside-illuminat-
ed Exmor R CMOS sensor. The
active area of the sensor array
measures 35.7x23.8mm. Packing
9,504x6,336 light-sensitive cells
in an area that size means the
individual pixels are tiny, and the
pixel pitch (the distance between
the centers of neighboring pixels)
is only 3.73 micrometers. This kind
of density is possible through the
use of Exmor CMOS R technolo-
gy, combining a backside-illumi-
nated sensor that uses on-chip
analog/digital signal conversion
and two-step noise reduction
processing.
There’s no question about the
ability of the a7R IV to resolve fin-
er subject details than any other
compact mirrorlesss camera on
the market, especially when mat-
ed with a high-quality lens. With
an effective linear resolution of
slightly more than 266 pixels per
millimeter, it leads its class. The
color palette is lifelike in appear-
ance, and both pale and dark
skin and various skin textures are
rendered well. Straight out of the
camera, colors found in nature
look accurate as well. I tried both
Capture One Pro 20 and Light-
IMAGES ©ELLIS VENER / ellisvener.com
room Classic CC for processing
the .arw format raw files.
If you think 60-megapixel
resolution is overkill for most of
what you shoot, note that more
resolution has two beneficial
aspects: Cosmetic retouching
can be less visible and more
lifelike, and if you must crop,
the resulting image is higher
quality than if you begin with a
lower resolution capture. Used in
APS-C Large mode, the a7R IV is
a 26-megapixel camera, meaning
you’re getting two high-resolu-
tion cameras for the price of one.
If you need more resolution
for subjects that don’t move,
mount the camera on a tripod
and use the camera’s pixel shift
feature. Pixel shifting is a hybrid
capture and computational pro-
cess in which the camera takes a
sequence of 16 exposures while
the sensor moves laterally and
vertically in half-pixel diame-
ter increments. By shifting the
sensor, every point in the image
area, even the tiny gaps between
the pixels, is recorded with a full
set of red, green, and blue values.
Not only does this increase re-
solving power, it also eliminates
the color interpolation process
inherent with fixed-position
pixels. Creating the final image
requires using Sony Imaging
Edge software to blend the Skin color and texture as well as fine detail are rendered exceptionally well in
this portrait of actress and model Shay Davis. I made the photograph with the
frames to make a whopping Sony a7R IV and the Sony FE 85mm F/1.4 GM lens at f/6.3 for 1/60 second,
240.8-megapixel image. ISO 640.
The downside of tiny pixels is
that each pixel collects less light
than a larger pixel would. It’s
not an issue with a well-exposed
image at low ISO settings, but
electronic noise begins to com-
pete with subject detail in the
lower mid-tones starting around
PPMAG.COM JULY 2020 43
THE GOODS
ISO 800. At the much higher
range, I liked the pointillistic,
soft pastel palette I found at ISO
102,400 when photographing in
dim, low-contrast light.
For handheld work, the cam-
era’s stabilization system works
exceptionally well. If you already
practice proper handheld tech-
nique, Sony claims that with
This detail image taken of the Mercedes Benz Stadium in Atlanta, Georgia, was exposed at f/1.4 for 1/6,400 second at ISO 100.
44 PROFESSIONAL PHOTOGRAPHER
specific lenses, there’s an up to
five-stop gain in the lower shut-
ter-speed threshold.
Sony holds a slight but definite
lead in autofocus accuracy and
eye-tracking over competitors,
but firmware updates to the Nikon
Z6 and Z7 and Canon EOS R, are
quickly closing the gap.
I used a variety of lenses with
the a7R IV, not just high-end Sony
GM lenses, but also E-Mount
lenses from Sigma, Tamron, Zeiss,
and (with a Sigma MC-11 adapter)
Sigma Art lenses in Canon EF
mount. If you’re going to buy
a high-resolution camera, no
matter the manufacturer, you
need the very best glass you
can afford to get the image qual-
ity you paid for.
Sony has really stepped up its
game in ergonomics. The stand-
out feature here is the deeper
and more contoured grip and the
larger and slightly repositioned
thumb rest. These changes make
me feel as if I have a more secure
hold on the camera and help
with holding it steady. I also ap-
preciate the addition of a locking
mechanism on the dedicated
exposure compensation ring,
the more prominent AF-on
button, and the change in the
texture of the multi-directional,
multi-function navigation pad.
There are two features I dis-
like on the a7R IV camera: the
top deck design and the SD-only
media format.
I don’t like that the top deck
doesn’t include a camera status
LCD. The dials on top show the
exposure bias setting and the
exposure mode, but I need to
look at the rear LCD panel or
peer into the OLED viewfinder to
see ISO, shutter speed, aperture,
white balance, and drive modes.
Not having ready access to this
information slows me down. I
don’t know what’s under the di- Photographed with the Tamron 24mm F2.8, exposed at f/2.8 for 1/640 second, ISO 80
al-less left top deck, but it seems
a logical place to add a small
LCD. The other drawback is that
the full-size raw files the camera
produces are big, and having to
use SDXC media is a bottleneck.
Though XQD/CFexpress media
is slightly larger, its increased
speed would be a meaningful
improvement.
Another annoyance is that
the Format and Record Media
selection settings rank 28th in
the hierarchy of camera setup
options. These are essential com-
mands that shouldn’t be buried
at the bottom of the fifth page of
the Setup menu.
Photographers willing to invest
in high-quality lenses who also
want as much resolution as pos-
sible will appreciate this camera.
Portrait, product, and architec-
ture photographers will love it.
But I cannot recommend it as
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trousers, boots, and a Natal Police (European) helmet, no doubt
belonging to one of the men killed on the preceding Wednesday. A
large ammunition belt was buckled round his waist, with a bandolier
containing cartridges over the right shoulder. He also carried a
modern rifle.
His men, of comparatively small build, dark and thickset, had for the
most part, white ostrich feathers in their hair, plucked from a
European-owned bird wilfully done to death by them in their ward just
before their flight. They wore the ordinary Native attire, including
tshokobezi badges,[163] and each carried assegais, together with a
large ox-hide shield. In their possession were eight guns, viz.: three
magazine rifles, one Martini-Henry rifle, one double-barrelled gun,
and three old muskets.
A black and white cow was soon observed being driven forward. This
was presented to Bambata. The significance of the gift was that the
Chief, acting on behalf of the tribe, regarded Bambata as a friend and
desired to extend hospitality to him in the manner most approved by
Native custom. It was now arranged that one of Bambata's men
should shoot it. Two shots were fired, but the animal remained
unharmed. Indeed, it had been intimated beforehand to those near by
that, although fired at, the beast, because of having been charmed by
Bambata, would not fall until Bambata himself had fired. True enough,
on his taking the rifle and firing, it dropped dead, and rolled down the
incline on which it had been standing. "A marvel! a mystery!"
remarked the surprised on-lookers. "Clearly Bambata must be in
possession of some wonderful charm!"[164] The animal was now
skinned and consumed by the men from Mpanza.
Two messengers, who had been sent by Sigananda to the
Commissioner, now arrived on the scene. They were taken aside by
the Chief with a few others, when one of them reported that Mr.
Saunders, on hearing of Sigananda's inability to find Bambata, had
said he would not keep on sending messages, as it was absurd to
suppose the outlaw's whereabouts could not be ascertained; he was
known to have come into the midst of kraals, whose occupants,
having feet, could detect with ease a track made by a couple of men,
how much more that by a hundred, as well as a couple of horses![165]
The Commissioner had also alluded to an upstart, Sitimela; to this
man reference will be made further on.
All were now directed to move towards where Sigananda and his
party were sitting, and there "to march together through one gate."
This, however, was merely a metaphorical expression, there being no
actual gate at the place. The expression had reference, as everyone
at once guessed, to certain two Basuto doctors engaged, not many
yards off, in preparing decoctions of various drugs called izintelezi.
[166] The meaning was that the men were all to walk past the doctors
for the purpose of being treated in accordance with custom, in
anticipation of coming warfare. There was a small fire close by, from
which a large amount of smoke was ascending. The smoke was
caused by green branches and leaves being burnt with a fatty
substance thrown in by the medicos. The order was that Bambata's
men should move off first in twos, followed by Ndube's and
Sigananda's men in like formation. When the first two came to the
fire, they trod lightly in it, the man on the left with his right foot, and
the one on the right with his left. In so doing, they passed through the
smoke. Without halting, they passed slowly by the doctors, when they
were simultaneously sprinkled by one of these by means of two black
small brushes, apparently gnu-tails (one in each hand), previously
dipped in a huge earthen-ware pot containing some caustic
decoction. The men were told that they should not, after the
sprinkling, rub their bodies with fat, as usual with Zulus, nor should
they wash. Moving on, the leading couple came to the second doctor,
who lifted to the mouth of each a ladle containing a different liquid,
drawn from a pot on the ground at his side. Each warrior was
instructed to take a mouthful, not to swallow, but to keep in his mouth
until further directed. Similar procedure was followed in regard to
every couple, until the whole impi had been dealt with.
After marching past, the men formed up in one large irregularly-
shaped body, some hundred or so yards further on. What is known as
an umkumbi or circle was now ordered to be formed,[167] when
Sigananda, accompanied by Mangati and one or two of his leading
councillors, entered the ring. Bambata stood apart in front of, but
close to, his own men, who also formed part of the enclosure.
Everyone remained standing, including the ninety-six-year-old Chief.
The last-mentioned addressed the gathering in these terms: "The
drugs which have just been used on and about you all have the
power of preventing bullets fired by Europeans from entering your
bodies or doing injury of any kind. But there will be immunity only on
certain conditions, which are that you abstain from womenfolk, and
that you lie down to sleep, not on mats, but on the bare ground.
Anyone who ignores these directions will render himself liable to
injury or to be killed. From to-day, I have resolved to take up arms
against the white man! The pass-word and countersign to be used
when you happen to meet and interrogate others, especially at night,
is 'Wen' u tini?' (= You, what do you say?); the one addressed must
then reply, 'Insumansumane!'" (= It's all tomfoolery!) After Sigananda
had spoken, a Christian teacher named Paula endorsed what the
Chief had said, laying stress on the efficacy of the drugs. "I have left
my wife behind," he added, "also a waggon and oxen in Mpanza
valley. Why did I come away? Because I had made up my mind to
fight. The Government is casting aside its right of sovereignty and
giving the same over to us. Here (pointing at them) are my tribesmen!
These men will never turn back now, but will go resolutely forward.
Once angered, they are implacable and continue long in their wrath."
A man, Mmangwana, one of those who had just come from the
Commissioner, next mumbled, with the liquid he had sipped still in his
mouth: "I cannot accept the assertion that anyone, on being struck by
a bullet, will not be hurt or that a bullet will not enter. I never heard of
such a thing. Is, then, a man's flesh made of iron? Did not a certain
outlaw[168] not long ago find his way into the Umtetwa tribe and there
bring about the ruin of a whole country-side? Did he not declare that,
if the Europeans came to attack him, they would be stung by bees
and wasps, and be bitten by snakes? And when they (Europeans) did
come, were not many innocent people destroyed by the white people,
whilst this fellow escaped scot free?"
The keeper of Cetshwayo's grave here remarked, also speaking with
great difficulty, his mouth half-full of the talismanic draught, "How
comes it, in these days, that when the King[169] sees fit to direct
anything to be done, a lot of people come forward with all sorts of
observations and criticisms? Who ever heard of presumption of this
sort in former times?"
On the ring now breaking up, the whole party was led by Mangati to
the top of the nearest mountain-top (Ndundumeni). Here they were
told to cinsa, i.e. vigorously and defiantly spirt the charmed water
from their mouths towards the objects of their wrath, shouting as they
did so, Íwa Kingi! Íwa Mgungundhlovu! Íwa Mashiqela! (May the King
fall![170] Fall, Pietermaritzburg! Fall, Saunders!) Everyone having
uttered these imprecations, came down the hill and, the mist coming
on, the gathering dispersed, with orders to meet on the following
morning in the neighbourhood of the grave.[171]
When the rebels met as arranged, accompanied by Bambata, they
erected other amadhlangala or temporary shelters of wattles and
branches. Later the same day, probably the 16th, a body now
between 700 and 1,000 strong, with Bambata and Mangati in
command, marched up the ridge at the rear of Enhlweni towards
Nomangci, with the intention of attacking the magistracy, or any of the
small patrols that were then being sent out daily. Sigananda, hearing
of this, ordered Bambata to desist until the messengers sent by him
to Dinuzulu a couple of days before (to obtain confirmation of
Cakijana's communication to Mangati regarding Dinuzulu's alleged
wishes) had been received. Bambata returned to the grave, where he
continued to camp undisturbed for at least a fortnight.
The decision of Sigananda to rebel is surprising when one considers
that his district is one of the healthiest and most fertile in Zululand. In
many respects it is an ideal place to live in, especially for Natives. Far
from the larger European centres, it has an abundance of firewood,
wattles, etc., and is, moreover, peculiarly favourable for raising stock.
All these advantages became of no account as soon as the blighting
word arrived from the royal house that Bambata was to be
befriended. Dinuzulu's pleasure first, everything else nowhere. That
was the sole cause of this remarkable defection. It can be explained
in no other way. Where is the witchery that can be compared with
this?
Between the 15th and 23rd, Sigananda sent messages to many
neighbouring loyally-disposed Chiefs, urging them to rebel. Although
a number of malcontents threw in their lot with the rebels, including
members of the tribe of Siteku (Dinuzulu's uncle) and Chief Gayede
(of Natal), the majority of the people remained loyal or neutral.
Several, as far off as Mahlabatini, went further and offered their
services to the Government against Bambata and Sigananda.
Two or three stores, close to the forests, were looted during this
period (that at Sibudeni, as early as the 16th), besides cattle
belonging to loyalists.
The two messengers that had been sent to Dinuzulu got back on the
evening of the 23rd. Unfortunately, there was a difference between
them as to the purport of 'the Prince's' message. One man, the
senior, said Dinuzulu had denied all knowledge of Bambata's doings,
and had remarked: "they have already begun fighting; let them do just
what they want, it is no affair of mine. I do not want to be mixed up in
the business." The other man, agreeing whilst in Sigananda's
presence, afterwards went among the rebels and encouraged them
by declaring that Dinuzulu's real wish was that they should fight the
white man. The construction put on the communication by the latter
messenger was that which, readily finding favour, was accepted.
These men, moreover, had heard of the Government having arranged
with Dinuzulu on the 17th to allow Mankulumana to go and act as
"peace-maker," a matter that will be noticed later. The second
messenger interpreted Mankulumana's mission into his having been
"bought by the Europeans"; his coming, therefore, was simply to try
and hoodwink Bambata.
Mankulumana arrived at Empandhleni on the 23rd, and after
interviewing the Commissioner for Native Affairs, proceeded, on the
following morning, to see Sigananda.

FOOTNOTES:
[144] Gabangaye, with a large following, formed a portion of the
Native contingents that assisted the Imperial troops.
[145] These men had received orders to mobilize only the morning
before.
[146] The Reserves, with part of the U.M.R., one Maxim
detachment, and one field gun, passed the night at Wintershoek;
the Police, with one troop U.M.R. and Maxim detachment, camped
at Botha's quarries.
[147] See "The Causes, Superstitions and other Characteristics of
the Matabele Rebellion, 1896." Appendix X.
[148] Ntshelela is one of the many younger sons of Godide, son of
Ndhlela, one of Dingana's two principal indunas. Ndhlela was one
of the two indunas in power when Piet Retief and his party were
massacred at Mgungundhlovu in 1838.
[149] By this time, Cakijana had temporarily detached himself from
the force.
[150] The Magistrate specially appointed to try the case, took a
surprisingly lenient view of the matter. What had occurred was
this: The Chiefs of the district were directed to bring their people to
pay the poll tax. All, to begin with, were nervous and averse to
paying until Sitshitshili came forward in the presence of the others
and made his tribe pay, remarking, as he did so, that, having
always obeyed the Government, he was not going to be afraid of
doing so on that occasion. Other Chiefs then followed the
example. Sigananda's people, of whom about 200 were present,
declared they had no money and could not pay. When told that, as
such was the case, they might go home, they "rushed up to the
court-house fence brandishing their sticks, shouted out their tribal
war-cry Yayize!" and began to dance in a defiant manner (giya)
within the precincts of the court-house, action which at once
terrified all the Native police, as bloodshed appeared to them to be
imminent. No physical violence, however, occurred.
[151] Cd. 3027, p. 31.
[152] These forests are very extensive and difficult of access when
approached from Natal. They are mainly on the eastern slopes of
Qudeni mountain, and about twenty miles from those of Nkandhla.
Bambata, however, does not appear at any time to have had them
in view.
[153] Enhlweni, from inhlwa, a poor or indigent person, may be
rendered the pauper's retreat, no doubt in allusion to the 'destitute'
condition Cetshwayo found himself in on his return from exile,
—'destitute,' that is, as compared with his former affluence and
popularity.
[154] This man Muntumuni was later on shot in the Mome valley
whilst climbing one of the steepest parts of the gorge. He was fired
at many times, being in an exposed position. On being hit, he
rolled to the foot of the mountain from a height of over 1,200 feet.
[155] Besides 182 N.P., 92 Z.N.P., 106 Z.M.R. and 20 civilians,
there were 30 women and children at Empandhleni.
[156] This regiment got orders to mobilize on the 17th April. The
orders applied to the Left Wing and 150 men of the headquarters
squadrons (Right Wing). The latter section (under Captain E.W.
Barter), joined the Left Wing at Dundee, the whole force being
taken command of by Lt.-Col. D.W. Mackay. The remainder of the
Right Wing, with the exception of D squadron, mobilized on the 1st
May and proceeded to Helpmakaar under Lt.-Col. J. Weighton,
who then took command of the regiment. D squadron was
mobilized in June, and, as will be seen later, accompanied B.M.R.
first to Dundee, then to Mapumulo where, until the arrival of
Mackay's column early in July, they formed part of that of
Leuchars. The total strength of the regiment was 918 (all ranks),
including special service men, i.e. the largest volunteer corps
Natal had ever placed in the field.
[157] Well armed, especially from Sigananda's point of view.
[158] The position, at the time, seems to have been this: As soon
as Bambata, fleeing from Mpanza, was known to have entered
Zululand, the local authorities applied the principle of communal
responsibility, under which every Chief and his adherents became
bound to co-operate with Government officials (if any) and one
another in apprehending the fugitive. No Government officials
being available on the spot at the outset, Chiefs were expected to
assist one another. When, however, instead of running from district
to district, Bambata made for the Nkandhla forests and there
concealed and established himself, it devolved, under Native law,
on Sigananda to make the arrest if he could. Mr. Saunders
regarded this Chief as able to at least drive the rebels out of the
forests by a process of starvation. Hence, qualification of the first
order, by Chiefs in general being no longer required to assist
Sigananda, but being held responsible merely for arresting
Bambata should he escape to or through their respective wards.
[159] Commissioner for Native Affairs to Prime Minister, 28th April,
1906. Cd. 3027, p. 32.
[160] Commissioner for Native Affairs to Prime Minister, 28th April,
1906. Col. 3027, p. 31.
[161] Had van Rooyen's Reserves been retained, the aggregate
would have been over 400.
[162] Van Rooyen and Vanderplank reached Empandhleni at 6
a.m. and 6.45 p.m. respectively on the 9th, whilst Mansel got to
Middle Drift at 4.30 p.m. on the same day.
[163] These were simply the bushy part of ox- or cow-tails of white
hair or white and red mixed, with the skin cut so as to enable them
to be bound round the head. They were arranged so as to stand
erect, lie on the head (front to back), or fall from the back part of
the head on to the neck. They were also tied round the neck so as
to hang down the back. No one was required to wear more than
one. As the wearers ran, the 'tails' continually bobbed up and
down,—done possibly with the object of inspiring the enemy with
fear.
[164] The explanation is that blank cartridges were used for the
first two shots.
[165] Bambata and at least one of his men rode horses.
[166] Charms for warding off evil. Different ones are used
according to the character of the evil to be averted.
[167] That is, the men drew up in this formation.
[168] The speaker referred to Sitimela, a notorious upstart, whose
example had been quoted by Mr. Saunders, and of which fact
Mmangwana had just told Sigananda privately as above related.
[169] A hyperbole. The reference is to Dinuzulu.
[170] That is, the King of Great Britain and Ireland.
[171] Cetshwayo's grave.
 IX.
THE NKANDHLA FORESTS.—SIGANANDA AND HIS TRIBE.—
DINUZULU'S ATTITUDE.—EARLY OPERATIONS AT
NKANDHLA.—MURDER OF H.M. STAINBANK.

Some account is now necessary of the locality within which the rebel
bands took refuge, shortly to become the focus of more than a
month's operations by some 2,000 European troops and a like
number of Native levies.
The name Nkandhla is probably derived from the verb kandhla,
meaning "to tire, exhaust, or prostrate," and is applied collectively to
the various great and more or less connected forests that clothe the
mountains, spurs and valleys of that part. The area in question, as
will be seen from the map, is about eleven miles long by five broad.
Separate names are given to about ten of the forests, among them:
Dukuza (wander about), Elendhlovu (the elephant one), Elibomvana
(the little red one), and Kwa Vuza (the dripping one). The slopes of
the mountains are remarkable for their steepness, especially when
approached from the low ground in the vicinity of Cetshwayo's grave.
The altitude of the slopes, of course, varies, but the steepness is
practically uniform, whether the height be 2,000, 3,000, or 3,500 feet.
The bed of the Insuze River, from the Tate to the Halambu, would
average about 1,100 feet—where the Mome enters the Insuze, it is
1,122. In many parts, the peaks and ridges rise to a height of 1,500 to
2,000 feet from the nearest stream bed, and within a distance of less
than a mile, measured from the foot of the perpendicular.
Three streams flow through the forests into the Insuze, viz.: Mome,
Nkunzana, and Halambu, and, of these, the Nkunzana traverses the
heart or densest part of the forests.
The principal forest, as well as the deepest and darkest, is Dukuza,
no doubt deriving its name from the fact that one is liable to lose his
way therein and go wandering about unless acquainted with the
secret that, to find his way, he must climb the nearest ridge to see in
what direction to make.[172] The trees are not, as a rule, higher than
sixty feet, though, near the bottom of some of the gorges, they rise to
seventy and eighty. Generally speaking, there is but little
undergrowth, and the trees stand rather wide apart. Here and there a
precipice or donga is met with.
Notwithstanding the sharp ascent so characteristic of Nkandhla
ridges and spurs, comparatively few stones or boulders are to be
found. The ground is covered with damp, decaying substances, such
as leaves and branches; here and there, especially along the beds of
streams, are to be seen moss-covered, slippery rocks, ferns and
monkey-ropes, all tending to give an impression of the immense
antiquity and majesty of the forest. Beautiful glades, varying in size
and shape, are suddenly come upon in parts, with all the freshness
and evenness of some lowland meadow. A look-out must be kept for
snakes, such as rocky cobras, mambas and puff-adders. Leopards
are also to be found. Of birds, lories, red-necked partridges and
eagles will frequently be seen. And superstitious people will be
interested to know that ghosts have, for generations, haunted and are
said still to haunt the dense, precipitous forest Eziwojeni, immediately
below Sigananda's kraal "Enhlweni."
Above and at the rear of the Mome waterfall (which has a drop of fifty
feet) is a natural stronghold, the one used by Cetshwayo in 1883.
Owing, however, to a feeling of insecurity, especially on account of
the presence of artillery, the rebels did not use it in 1906, they
preferred to take refuge in the Mome gorge and the adjoining forest-
covered valleys. A favourite, though unhealthy hiding-place, is in the
vicinity of Manzipambana (a tributary of the Nkunzana), which never
issues into open daylight. The peculiar vagaries of its course, which,
in parts, seems to proceed one way and then in exactly opposite
direction, are ascribed to perverse and occult powers emanating from
the still and sombre forest depths.
The Mome gorge, to be often referred to later, takes its name from a
stream that flows through it. It is about one and a half miles long, with
great mountain walls on either side. At the head of the valley is the
waterfall already referred to. Near the fall, the ground rises on either
side to an altitude of over 3,000 feet, but at the mouth of the valley
drops away with remarkable suddenness. Within a radius of 200 to
300 yards of the fall, the earth is covered with a dense forest which,
extending outwards on either side, connects with the various other
forests referred to above, especially on the east. A couple of isolated
forests are to be seen within the valley, particularly the Dobo or 'pear-
shaped' one on the west near the mouth. So steep are the sides of
the gorge, like the letter V, that the sun in the morning and afternoon
is shut out to such an extent that the day appears to be considerably
shorter than it is.
Altogether the Nkandhla, with the Mome gorge as practically the key
of the position, could hardly be surpassed as a place of refuge. Nor
could the beauty and attractiveness of the district as a whole be
easily excelled. There is a cleanness and definition as well as natural
grandeur about Nature's handiwork hereabout that immediately
appeal to the imagination. The purity and coolness of the air are
exhilarating, so much so that one becomes oblivious to the cares of
life as he wanders about the woodlands, toils up the sharp ascents,
or bends over one of the many brooks to regale himself with some of
the clearest crystal water to be found on the face of the globe. The
Nkandhla should never become a field of war, and anyone who visits
it will realize the pettiness of man's strife which, for a moment,
disturbs its awe-inspiring stillness, and gentle, peaceful slumber.

The history of the tribe that lived about these forests, and especially
its relationship to the royal house of Zululand, are naturally matters of
greater interest. Called by some amaCube, by others amaNcube, the
tribe is a Lala one,[173] closely related to that of Butelezi, to which
Mnyamana, son of Ngqengelele, belonged. Mnyamana was
Cetshwayo's prime minister, whilst Ngqengelele was the great
Tshaka's guardian, adviser and friend. Mnyamana, subsequently to
the Zulu War, became unequivocably loyal to the British Government,
and, on more than one occasion, publicly dissociated himself from the
acts of Cetshwayo, as well as of his successor Dinuzulu. This
detachment was maintained during the Rebellion by his son
Tshanibezwe, a fact which had no small influence in restraining and
even checkmating Dinuzulu. The history of these sister tribes during
the last thirty years is remarkable in that, whilst the Butelezi was
unquestionably loyal to the Imperial Government, the amaCube was
persistently sullen and disloyal. In other words, Butelezi threw in its
lot once and for all with its acknowledged conquerors, in opposition to
the rebellious tactics followed by Cetshwayo and Dinuzulu, whilst the
amaCube declared as resolutely in favour of the royal house, though
embarked on a mad career after palpably impossible goals.
The year in which Sigananda's ancestors first came to settle in the
neighbourhood of the forests is wrapped in obscurity. Natives have no
good means of fixing time, especially in regard to events more than a
century old. One of the best methods, indeed about the only one, is to
ascertain the Chief's genealogical tree, the whereabouts of former
Chief's graves, etc., and, from these and related facts, draw such
inferences as appear reasonable. In the case of Sigananda, the
known positions at Nkandhla of the graves of six of his ancestors,
enable us to conclude with tolerable certainty that the first Chief died
about 250 years ago.
Tradition seems to carry the arrival of the people still further back. It is
safe to say it is one of the oldest tribes in Zululand and was already
long in situ when the migration of the great Xosa family to Cape
Colony took place in the seventeenth century.
Although Tshaka attacked and defeated many tribes, he was unable
to conquer that over which Mvakela, grandfather of Sigananda,
presided. Later, however, he succeeded in putting Mvakela to death.
This man took refuge in the Manzipambana section of the forests. It
proved so detrimental to his health that he was obliged to leave and
expose himself, thus affording the enemy an opportunity of which
advantage was swiftly taken.
It so happened that Mvakela had married a sister of Nandi, Tshaka's
mother. Mvakela's son, Zokufa (father of Sigananda), was thus
Tshaka's first cousin. This connection with the royal house of Zululand
plays a most important part in regard to the Rebellion. It shows the
character of the blood relationship between Dinuzulu and Sigananda.
Zokufa was allowed to become Chief. The tribe continued, as in
former ages, to practice the art of iron-smelting, and the manufacture
of hoes, axes, knives and assegais of every shape and size. Owing to
special aptitude in these respects, the people were largely patronized
by the King who, from time to time, called for supplies of the articles
manufactured. The national army depended to no small extent on the
assegais made by the tribe, which came to fill much the same kind of
place in the body politic that Woolwich arsenal does in England.
Large quantities of the domestic articles referred to were, moreover,
bartered to the general public far and near. When the white man
arrived in 1824, and, in the years that followed, introduced hoes, axes
and knives, the demand for more serviceable wares soon caused this
once famous handicraft to die out. But, although the Zulus were
content to use European hoes (which were lighter and cheaper), and
axes and knives (which were harder and sharper), they never lost
faith in their own smiths for the making of assegais and other
implements of war. To this day the assegai forged in Birmingham has
been unable to supersede that of the ordinary Native blacksmith who,
in these days, is not above using European pig-iron, instead of
smelting his own with those quaint old bellows of his from the
ironstone so frequently to be met with. Sigananda himself was an
excellent smith, his reputation for barbed, large stabbing, as well as
throwing, assegais being by no means confined to members of his
own tribe.
In Cetshwayo's day, we find Zokufa holding the position of induna at
that Prince's Mlambongwenya kraal. It was there that the famous
Usutu party was first created by Cetshwayo. The Usutu became his
personal adherents in opposition to the Izigqoza of the rival claimant
to the throne, Mbuyazi. The party was made up of men from many
tribes, and not recruited merely from the Zulu one, of which its leader
was a member. Zokufa, and after him Sigananda, together with the
amaCube tribe, belonged to the Usutu faction. Sigananda accordingly
fought on the Usutu side during the great Ndondakusuka (Tugela)
battle on the 2nd December, 1856.
Shortly after, owing to disturbances in the tribe, Sigananda fled to
Natal. He took refuge in the tribe of Mancinza, father of Bambata. He
became a policeman at the Magistrate's office, Greytown, but, about
1871, was invited by Cetshwayo to live in Zululand, when, after
fourteen or fifteen years' absence, he became Chief over the tribe.
During the Zulu War, Sigananda naturally fought for his King.
Cetshwayo's restoration to Zululand occurred in January, 1883, and,
as has been seen, was the signal for violent conflict between his and
Zibebu's forces. Cetshwayo was obliged to find a place of refuge. He
fled to the Nkandhla forests, where he was harboured in one of the
amaCube kraals immediately overlooking the Mome waterfall. A small
kraal, known by the name of Enhlweni, was constructed for the ex-
King's use on the eastern side of the waterfall, and only three
hundred yards from it, whilst a covered path was specially made
through the forest that stood between the two kraals. The
Government succeeded, through the influence of Mr. Henry F. Fynn
(son of the earliest pioneer of Natal), in inducing Cetshwayo to leave
his place of hiding and reside at Eshowe, and there he died in 1884.
Owing to the unsettled state of the country, it was decided by the
heads of the nation that Cetshwayo should not be buried on the
banks of the White Umfolozi, where it had for generations been the
practice to inter the kings. The district in the occupation of the
amaCube was the one selected, whereupon he was conveyed there
in an ox-waggon and 'planted,'[174] near the Nkunzana stream, on a
small exposed ridge about three miles to the east of Mome gorge. A
relative of Sigananda was appointed keeper of the grave, a post of
much responsibility and honour. One of his kraals was erected on a
knoll some 500 yards from his charge.[175]
In the battle of Kotongweni in 1884 between the Usutus, on the one
side, and the Government forces, Basutos and other Natives loyal to
the Government, on the other, Sigananda threw in his lot with the
former. Finally, in 1888, when Dinuzulu once more waged war against
Zibebu, Sigananda was called on by the Government to furnish a
levy. He refused, subsequently reviling a few more loyally disposed
members of his tribe for breaking away and assisting the authorities.
Such, in brief, was the history of the man and tribe with which the
Colony had now to deal. In 1905, the tribe was wholly within the
Nkandhla magisterial district; it consisted of 462 kraals, with an
approximate total population of 4,300, or about 700 men capable of
bearing arms.
Another factor in the situation was the Chief's great age. There has
been some uncertainty in regard to the point, some maintaining he
was as much as 105, but, when it is borne in mind that he was a
member of the Imkulu-tshane regiment, the cadets of which were
recruited about 1830, and that these were about seventeen or
eighteen years old when recruited, his age could not have been more
than ninety-five at the time of the Rebellion, if quite so much.

It has already been shown that the Magistrate and the Commissioner
at Empandhleni placed themselves in immediate communication with
Sigananda, who, however, hypnotized by the prospect of co-
operating with his old King's son, deliberately ignored all the orders
received by him.
When the Commissioner became convinced (as he did on 16th April)
that Sigananda had thrown in his lot with Bambata and was in open
rebellion, in conjunction with sections of adjoining tribes, he
represented the situation as very serious, and urged the immediate
concentration within Natal of a large Imperial force, partly to
compensate for the imminent withdrawal of local troops to cope with
the Rebellion in Zululand, and partly to counteract a rumour that was
circulating to the effect that the Imperial Government, disapproving of
what had taken place, would not assist the colonial forces. Mansel
advised the taking of similar action. The Ministry, however, deemed it
expedient to deal with the situation as far as possible from Natal
resources alone and, if it proved beyond the Colony's capabilities, to
appeal for assistance to other portions of South Africa. "Fears having
been expressed," says the Governor, "that if the Active Militia as a
whole left for Zululand, the Natal tribes, who were still in a state of
unrest, might possibly rise, and that the Reserve Militia were
insufficiently organized to deal with them, it was determined to raise
immediately a Special Service Contingent of mounted men under the
command of Lieut.-Col. J.R. Royston, C.M.G., D.S.O.[176] ...
Detachments of Infantry were sent to garrison Gingindhlovu and
Eshowe, in order to keep open lines of communication viâ Fort
Yolland."[177] At the same time, a reward of £500 was offered for the
capture, dead or alive, of Bambata, and £20 in respect of each of his
followers. This reward, intended to stimulate Natives whose loyalty
was not assured, was, however, withdrawn before the end of April, on
account of the considerable number of Europeans then being put in
the field.
In raising the Special Service Contingent, known as "Royston's
Horse," Royston was debarred from recruiting members of the Active
Militia force. After advertizing in the local press, numerous
applications were received from all parts of Natal and the rest of
South Africa, with the result that the corps reached its full
complement (550) within ten days, hundreds of applications having
had to be refused. The great majority of the men came from
Johannesburg, Durban and parts of the Cape Colony. Much difficulty
was experienced in selecting officers, as also in obtaining clothing,
boots, saddles, etc., as the Militia Department had very little in stock,
except arms and ammunition. The corps being a mounted one, it
became necessary for Royston to use the powers given him under
martial law to commandeer horses where the owners refused to sell.
Dinuzulu's attitude, ever since the outbreak at Byrnetown, and,
indeed, for months before, had, as has already been related, been
regarded by many with suspicion. Such, however, was not the view of
Mr., now Sir Charles, Saunders, who emphasized in one despatch
after another his implicit belief in the Chief's loyalty and complete
detachment from the rebellious proceedings at Nkandhla. The opinion
of such an officer naturally carried great weight throughout Natal and
Zululand, as it was commonly known he was not only an
exceptionally competent Zulu linguist, with a life-long acquaintance
with the Natives, their habits and customs, but had held important
official positions in Zululand ever since the beginning of 1888, and
these, especially during the preceding ten years, had brought him into
frequent personal contact with Dinuzulu. Many were swayed by this
testimony, fortified as it was by the fact that Mr. Saunders had just
been on a visit of a day and two nights to Usutu kraal, having left
there on 7th April, after communicating to Dinuzulu and his indunas
the news of the disaster at Mpanza.
The Government, on the 17th, decided on the course reflected in the
following telegram to the Commissioner: "Absolutely necessary that
Dinuzulu should take some action to show his loyalty, of which you
say you are assured. All information goes to show that Natives
believe he is concerned in movement, and he must be made to show
his hand." Dinuzulu was communicated with accordingly. The same
afternoon, the Government asked if the Commissioner thought it
advisable to order Dinuzulu and Mciteki[178] to come to
Pietermaritzburg to assist in advising as to affairs in Zululand, and
whether some other powerful Chief might be told to come as well.
The Commissioner replied it would be fatal at that juncture to order
Dinuzulu or the others to Pietermaritzburg. "Situation is most delicate
and critical at present and requires the presence of any loyal Chiefs
we can depend on amongst their own people."
Almost simultaneously with the announcement of Sigananda having
joined Bambata, the following message was sent to Mr. Saunders by
Dinuzulu on the 18th, in reply to that from the Government of the
preceding day: "I am not surprised that the Natal Government should
have doubt as to my loyalty in face of repeated and constant
accusations to the contrary effect which have been levelled against
me throughout South Africa. I can only say I am perfectly loyal and
am most anxious to give proof of this in any way the Government
may wish. I have assured you of my loyalty by words and actions
repeatedly, but apparently this is doubted, and I now ask that
Government suggest means by which my loyalty can be proved
absolutely, and finally dispel the slurs which have been cast upon me,
and which I keenly resent. I am perfectly ready to turn out the whole
of my people, and send them to Nkandhla at once to operate in any
manner you may think fit, either in entering the forest and capturing
this dog Bambata, who has been allowed to enter Zululand and
disturb the peace which we enjoyed long after Natal Natives had
openly shown disloyalty. As you know, I am physically incapable of
leading my people in person, being unable to move with freedom
from my bed, but the impi would go down in charge of my chief
induna, Mankulumana, and I myself am prepared to be conveyed to
Nongoma and remain there alone with the Magistrate, whilst my
people are operating in any way they may be required as a proof of
my good faith in this matter. If Government say they wish me to go to
Nkandhla, I will find means to reach there, notwithstanding the state
of my health. If this assurance is not sufficient, I am sure that
Government will indicate what is necessary for further proof of loyalty
to our King."
When this message was received it was communicated to the press
and, being naturally given great prominence, had a reassuring effect
far and wide; so much so, that the end of the Rebellion appeared to
many to be in sight. Little did anyone suppose at the time that this
communication, to all appearance brimming over with the deepest
loyalty and affection, had issued from one who was actually
committing high treason at the moment he sent it.
The Government, most fortunately dissuaded by Mr. Saunders,
decided not to accept the offer of a levy. Such, by the way, could not
have exceeded 500 or 600 men. To have accepted, however, as was
pointed out at the time, would not only have attracted to it thousands
of Zulus from every part of the country, as well as from beyond its
borders, but the very movements of such concourse as would have
assembled would have caused a recrudescence of the alarming
rumours and unrest of which the Colony had already had a surfeit,
the net result of which would have been to greatly augment
Bambata's forces, if Dinuzulu and 'his army' did not themselves join
en bloc. The Commissioner was opposed to Dinuzulu being so called
on, not because he doubted the Chief's loyalty, but, as he wired on
the 19th, because "the country is in such a nervous state that if his
people once commence to arm, people would flock to join him from
all parts. This would not only cause a general panic, but would be
made the greatest capital of by Bambata as absolute proof that
Dinuzulu was arming to join him." At this time, moreover, Dinuzulu
was in a somewhat poor state of health, "being enormously stout and
suffering apparently from some dropsical and cutaneous disorder,
which completely incapacitated him for any physical exertion."
That the Government was not satisfied with Dinuzulu's passive and
neutral attitude is seen from the fact that, on the 16th prox., the
Commissioner was asked if he was still of opinion it was inadvisable
to employ that Chief's men. In reply, Mr. Saunders adhered to the
view already expressed.
Instead of requiring Dinuzulu to go to the magistracy as suggested by
himself, it was arranged Mankulumana should proceed to Sigananda
to ascertain what was his attitude towards the Government, as well
as to inquire pointedly by whose authority the rebels were being
massed at Nkandhla. He was, moreover, to deny that Dinuzulu was in
any way an instigator of what had occurred at Mpanza.
Mankulumana, as has been seen, reached Empandhleni on the 23rd,
and, after ascertaining from Mr. Saunders what message he was to
deliver, moved on to see Sigananda at Nkandhla forests. He returned
on the 26th to report he had been received by the rebels in a hostile
spirit, being precluded by their leaders from meeting the Chief, and
that he had made it as generally known as possible that Dinuzulu was
not associated with Bambata.
The Magistrate of Eshowe proceeded on the 20th to the
neighbourhood of Fort Yolland, where he met three important Chiefs
of that part with their followers. These begged the Government to
send a force to protect them against raids that were being made by
Bambata and Sigananda's impis. The Chiefs were told a force was
coming and directed, in the meantime, to arm and defend
themselves.
On the night of the 23rd, intelligence was received that Bambata was
in the vicinity of Ntingwe; Mansel thereupon made a night march with
the Police and Z.M.R. over the worst imaginable country, so steep as
to be dangerous for man and beast. The sortie, however, proved
unsuccessful.
The convoy of waggons, escorted by the Natal Carbineers, under
Mackay, consisting of the Left Wing, three squadrons of the Right
Wing, and a section of B Battery, N.F.A.—400 all told, arrived at
Empandhleni at mid-day on the 25th, having left Dundee on the 20th.
They had travelled viâ Vant's Drift, Nqutu, Nondweni and Babanango.
[179]
By this time, the Government had resolved to adopt measures for
driving the Nkandhla district from various directions, hence Mackay,
on temporarily occupying Empandhleni, received instructions to
desist from doing any more than seize stock and burn kraals
belonging to rebels within the immediate vicinity of the magistracy; he
was warned not to attempt to draw the enemy prior to the general
converging movement shortly to take place. Attention was
accordingly confined by him to the district lying within a radius of six
or seven miles of the magistracy. This ground was completely cleared
of rebels, stock, etc.
Mansel, on being relieved by Mackay, was to have left with the Police
and Zululand Native Police for Fort Yolland on the 26th, but owing to
dense mists, was unable to do so until 10 a.m. on the 28th; he
reached his destination by a somewhat circuitous route at 11 a.m. on
the following morning. He had passed along the northern and north
eastern edges of the forest, where numbers of rebels were seen;
these, however, refrained from coming to close quarters.
Vanderplank, too, left for Ntingwe—an important strategical position,
six miles north of Macala—at 11 a.m. on the 28th, reaching camping
ground near there on the following day.
On the 28th, Mackay moved out in the direction of Nomangci, with a
couple of squadrons. He came in touch with about twenty-eight of the
enemy, when a few shots were exchanged.
On the morning of the 1st May, a small patrol, including Native
scouts, from Ntingwe, was fired on near Mfongozi. The fire was
returned, when the enemy decamped, leaving four horses and two
foals, which were captured. During the night, E. Titlestad's store at
Ntingwe was looted by the rebels.
Four squadrons of Mackay's force demonstrated again, on the 2nd
May, in the direction of Nomangci, when about a dozen kraals were
burnt, including one of Sigananda's, known as oPindweni. About 100
cattle, also goats, sheep and a few horses, were seized. The burning
of the kraals was necessary, as it was ascertained the rebels slept
and obtained food at them of a night. Shortly after noon the same
day, a squadron under Capt. Park Gray went to reconnoitre on