The Zambezi Stripped - in Black and White

This blog is a tribute to the Ripley series, a contemporary adaptation of the classic novel The Talented Mr. Ripley, which is a visual treat, boasting a compelling storyline and unique cinematography. It's a must-watch for film enthusiasts and fans of the original story.

Ripley is not just another adaptation of a classic novel. It's an American neo-noir psychological thriller miniseries by Steven Zaillian. Starring Andrew Scott as Tom Ripley, with Dakota Fanning as Marge Sherwood and Johnny Flynn as Dickie Greenleaf, the eight-episode series bring Patricia Highsmith's 1955 crime novel The Talented Mr. Ripley to life in a new and captivating way.

---oOo---

Robert Elswit, the cinematographer, filmed Ripley in monochrome. The only colour in the series is the bloody red paw prints of a cat on the steps at the end of episode 5, which serve as a symbolic element representing the violence and intrigue underlying Ripley's world.

Zaillian explained, "The edition of the Ripley book I had on my desk featured an evocative black-and-white photograph on the cover. As I was writing, I held that image in my mind. Black and white fits this story—and it's gorgeous."

---oOo---

Shooting in monochrome photography, or black and white, offers advantages such as highlighting form, texture, and contrast, emphasising light and shadow, and creating a timeless, classic feel that can evoke strong emotions and draw the viewer's attention to the subject. This technique has been effectively used in other films and series, such as "The Artist" and "Raging Bull", and it's fascinating to see how it enhances the storytelling in Ripley. 

The absence of color in monochrome photography can amplify the emotional depth of a photograph, allowing for a more profound connection between the subject and the viewer. This aspect of monochrome photography is particularly compelling for readers interested in personal travel stories, as it can effectively capture the essence and mood of a place. 

Ripley was filmed in these enchanting Italian cities: Rome, Venice, Capri, Palermo, Naples, Positano, and Atrani. Each town has unique charm, from Rome's historical grandeur to Capri's picturesque beauty.

Having visited some of these cities, we were charmed and spellbound by their unique colours, architecture, and history. The vibrant hues of the buildings, the intricate details of the architecture, and the rich history that saturate every corner make these cities truly special.

The Amalfi Coast, is a postcard-perfect destination that has inspired artists, writers, and travelers for centuries. Warm tones of pink, peach, and terracotta set against the backdrop of the Mediterranean Sea. Vibrant bougainvillea, azure waters, and charming streets winding down to the pebble beaches all contribute to the unique allure of this coastal paradise. Now imagine it stripped of all its colour.

Known for its medieval brick architecture and the famous Palio horse race, Siena is a city in Tuscany that boasts a warm palette of colours and features buildings adorned with earthy tones of terracotta, ochre, and sienna hues. The Piazza del Campo, the city's heart, is surrounded by magnificent palaces, showcasing an elegant blend of colours that complement the city's architectural splendour in black and white—quite a mind shift.

Initially, the absence of colour in Ripley was a bit disconcerting. However, as I delved deeper, I began to appreciate the subtle nuances, the varying shades and tones, and the interplay of light and shadow at various times of the day. Rather than being a distraction, the monochrome presentation heightened the mood, tension, and narrative. It was a mesmerising experience, and because I wasn't fixated on the aesthetics, I was utterly immersed in the story.

The allure of Ripley lingered with me long after I had finished watching. When I next picked up my camera, I found myself irresistibly drawn to shooting in black and white. Inspired by the series, I consciously decided to capture the next phase of our journey in monochrome.

This decision turned out to be a learning curve. I had to adjust my composition and focus on light and shadow. But I also learned that where the eye goes, the mind will follow, and shooting in monochrome allowed me to see the world in a new light. This experience inspired me to experiment with new techniques and perspectives, and I encourage you to do the same in your photography journey. Don't hesitate to step out of your comfort zone and try something new.

---oOo---

Let's get back to the Honey Badger, and we'll see where my photographic adventure takes us.

Our last overnight stop in Zambia was at the Kabula Tiger Lodge, a wonderfully comfortable campsite nestled on the banks of the Zambezi River. Surrounded by lush greenery, the lodge offered stunning river views and was a perfect spot to unwind after our adventures.

This lodge is immensely popular with South African Tiger fishermen, who flock here from April to December. Parked near us was an ardent angler who, immediately after setting up his campsite, started preparing his flies and rod for a spot of fishing.

We spent two nights and then Butch insisted that we call our Zambian explorations a day. To sweeten the deal, he promised we'd be heading to Angola. I sighed; we were not going home just yet.

---oOo---

We crossed over from Zambia into Namibia. The border crossing was a breeze, where we were safely tucked between a building and a large copper truck, weighed down by its heavy load. This picture confirms the weight of the metal. Next time I watch a movie and the crook pockets a few bars of gold or another heavy metal, I'll know it's a load of bunkum.

Before we knew it, we were back in Katimo Mulilo, in time for tea and scones at the town's first coffee shop. We stocked up on some fresh supplies but didn't linger. We'd be back at another time.

---oOo---

The name of this area is derived from the four river systems that flow through the Zambezi (formerly the Caprivi) and Kavango regions: the Zambezi, Okavango, Kwando, and Chobe Rivers. 

The Linyanti landscape was perfect for my newfound passion, monochrome photography. This would be the litmus test, I thought.

The landscape, featuring traditional villages and homesteads, confirms that black-and-white photography can evoke a sense of history and timelessness, making it a popular choice for capturing certain moods and atmospheres. 

That Timeless and Classic Feel: This is confirmed when we travel along the Zambezi, where traditions have remained unchanged for centuries. The only modernisation visible would be telephone or electric poles, solar panels, DSTV installations, cell phones, and modern transportation.

Rupara Rest Camp was the only place we would go for the weekend. This incredible spot was recommended by a lady we met at the coffee shop. She was on her way, alone, to Angola to deliver schoolbooks, stationery, and educational toys to the remotest, rural areas of southern Angola.

We have, at times, been disappointed in NGOs, missionaries, and even USAID in many countries due to the lack of change in the lives of local people, who persist with illnesses, poverty, and inadequate education.

However, this petite, soft-spoken yet feisty Englishwoman has been involved in her community for decades, teaching illiterate women and helping them become financially independent by producing beautifully woven grass baskets, decorative plates, and mats which are sold in shops all over Namibia and now in markets and stalls in South Africa as well. I treasure the basket I bought. It's the perfect place to store my vegetables or lemons.

---oOo---

Located on the northern boundary of Nkasa Rupara National Park, the Rest Camp is managed by the Wild Waters Group in a joint venture with the Wuparo Conservancy community. Namibia is renowned for its successful community-based conservation program.

By staying at Rupara, we also contribute to this successful conservation model. Although it's off the usual tourist routes and requires a 4x4 vehicle, the road is not particularly challenging.

Rupara Rest Camp is located 3 km from the entrance of Nkasa Rupara National Park.

We were looking forward to a quiet, relaxed weekend and would not go on an organised safari into the park. Our walks would be self-guided around Rupara Rest Camp, where we'd enjoy whatever came into view.

On Saturday evening, the manager, Dick Sharpe came around for supper. We spent a delightful few hours listening to his many bush stories and Butch in turn could tell him about our African Adventures. Being a keen angler who often travels to the southern shores of Angola, he provided us with invaluable tips. He even suggested we use a runner, Andrew Joe, at the Angolan border.

The only wildlife we saw was a resident family of warthogs. I never had the opportunity to sit with my camera to photograph the many birds, but I didn't mind. 

I read my book this time—a beautifully crafted story set in Canada's remote, hoary northern territories, where logging was a prominent activity, when I was contemplating the hard life in the arctic wasteland I'd stare at the canopy of trees above me.

We were back on the road again, eager to set forth this time and reach the Angolan border.

The Linyanti road offered fascinating landscapes, and I found setting up my camera to photograph the dark trees and the contours of lighter wood and thatched homes quite tricky. The very sandy soil and blue skies posed their challenges; one does not want to blow the one out to see the textures in the other.

Shooting in monochrome can make you more sensitive to the nuances of light and shadow; I learned to appreciate the subtle variations in tone and contrast. 

By the time we reached Mbezi Camp I was pooped. Our campsite is on a tributary of the Kwando River.

The campsites offer fantastic views over the floodplain, with ample shade provided by numerous trees. Each campsite has ablution facilities, a braai area, and a solar-powered electrical point for charging. Some campsites have grassy lawns. Hot water is provided by a donkey boiler, which Jeffrey sets up every afternoon.

We spotted a few lechwe on the floodplains, heard hippos snorting at night, and heard them chomping on the grass around the truck during the cool early morning hours before they returned to the water.

During the day, we spent time in our hammocks, reading and napping—pure bliss.

---oOo---

Our next stop, the River Dance Lodge, was a treat. We spent three nights there while I worked on my blogging. The Wi-Fi connectivity wasn't great, but gazing at my laptop screen and enjoying the river cascading over smooth rocks was a treat.

Riverdance is a secluded lodge on the Okavango River's banks. We made this eco-lodge our home solely to relax, write, and read.

We could have used the opportunity to explore the Zambezi region, but our bikes' tyres had yet to be repaired.

The Swiss owners, Pascale and Chris, and their team, aim to make guests feel at home, experience the local wildlife and culture, savour their excellent cuisine, and fall in love with Africa, just as they did when they first arrived, Chris told us at supper time.

While walking through the narrow tree-lined passages, I didn't need convincing, I knew Butch could settle in this Eden on the Okavango River. The climate would suit me, the water would be a constant balm, and the wildlife would keep us enthralled. Retirement dreams are made of this.

---oOo---

We staggered our distances as we passed through Kongola en route to Mukwe so that we could return to the Mukuku campsite.

We were eager to meet the owners, Ansie and Hannes, retired teachers who had built this fantastic rest camp.

Our campsite, set under tall indigenous trees, was perfect. We enjoyed sundowners on the deck overlooking the floodplain and river, catching up with our friends. Ansie has travel and adventure flowing in her veins and enjoys listening to all our tales, being very keen to learn about our plans to conquer Angola, which lies on the opposite embankment. I hope we'll persuade Hannes to visit there once he's read about our trip!

This spot is a birding paradise, and we were visited by the resident peacock, a clutch of Francolins, and the brood of guinea fowl who visited in the morning.

---oOo---

Every morning before we set off, I check my messages, and the highlight on that particular day was a beautiful Mother's Day message and collage of photographs I received from my daughter Lise.

Although we are in regular contact, and I'm always aware of most happenings in my children and grandchildren's lives, being out in the sticks often makes me feel out of touch. For them, not knowing exactly where we're travelling in this enormous African continent often makes us feel the distances more acutely.

She must have noticed my current black-and-white mission because her message followed suit. Just goes to show how technology on our phones has improved, and I thought her card was excellent and emotive.

---oOo---

We needed to do a few things before leaving for the Angolan border. The road led us to Rundu, the biggest town with the best facilities for the job.

Our destination would be the Ngandu Safari Lodge in Rundu. We had camped here before, so there were no surprises!

With our To-Do list in hand, we set off to see the local G.P. for our Yellow Fever shots. I couldn't wait to meet Dr. Van Schalkwyk, not because I had any medical complaints, but because his walls were lined with magnificent, framed wildlife photographs, and he was the photographer. I recognised many of the locations he'd been to and looked forward to hearing about his travels.

The second surprise was that he was a young man, in his early forties (or younger), which was unusual for such a seasoned traveler, unless he'd worked in some of those countries, I thought.

His story was a revelation. He told us about his 12-month sabbatical, which he took with his daughter, a toddler at the time, as his travel companion. Their adventures and discoveries along this journey were inspiring. He told us how he had to adjust to being a single parent, how she had to cope with the long distances and the change in routine, and how she adapted to being cared for permanently by her father.

I think there's a book in this journey of discovery. His photographs would be an excellent addition to bring their unique story to life, and in black and white, the possibilities are endless!

We were invited to return after our trip to Angola, to catch up over sundowners, but regretfully, we did not manage to return to see him. Maybe one day, when he visits his family in the Western Cape, he might look us up?

---oOo---

The Honey Badger had to be photographed from all angles, and hard copies had to be presented at the border. A photo of the registration plates and copies of the license and registration papers had to be presented at the border. This shoot was done on a dusty street off the main road in Rundu.

While I queued at Waltons stationary shop Butch did some shopping. The assistant who served me, an Angolan lady, couldn't believe we were going to her country and tried to dissuade us. We were adamant, I told her. She replied, saying we'd be disappointed. I doubt that I responded. She rolled her eyes, and I shrugged.

Later that day, the very methodical mechanic thoroughly inspected the Honey Badger's wheels, and a slow leak was repaired. The roads had taken their toll on the pockmarked tyres, but the tread still had a few thousand kilometres to go Butch assured me.

I like the photos taken in the workshop; the monotone adds an atmospheric slant to the grease and disarray of a busy garage.

While all this busyness was happening, and I was allowed a few minutes, I walked around the resort, brushing up on my photography. Monochrome photography can bring out the textures and forms within a scene, highlighting details that might be overlooked in a colour image. This detail I remembered from a black-and-white course I'd done years ago on the West Coast.

---oOo---

With our checklist ticked, paperwork in order, jabs done, the fridge stocked, the deep freezer packed with beautiful cuts of meat from Sarasunga butchery, the laundry done, and our ammo boxes groaning with supplies, it was time to hit the road to the Angola border post at Santa Clara.

A few weeks ago, a friend asked me whether I kept a travel log. This is more or less what I do: I jot down the names and contact details of people we've met and note some interesting facts about places. However, my journey is mainly tracked using the convenience of the Internet, where I use travel Apps like iOverlander or TripAdvisor. I comment on campsites and write short reviews for other travelers to peruse. For most of our trip, I would post brief descriptions and photos on Polar Steps, which geotags the photographs. My camera geotags my pictures, which makes keeping up and remembering places much more manageable. Butch keeps a comprehensive list of everyone we met, with their telephone numbers and email addresses. He will give me names and surnames in a jiffy. I think my blogs will suffice as a travel log in the future, too.

---oOo---

Our journey now followed the Kavango River, and it was interesting to note that, according to satellite tracking, some locations were already marked as districts in Angola, depending on the signals our phones received.

The Honey Badger was moving at a good clip, and we were zigzagging and plaiting through districts and villages, including Kapako, Kahenge, and Cuangar. We then returned to Kahenge (Namibia) and again to Cuangar (Angola), as well as Mapungu and Okongo.

The countryside was changing, and what was once a lush, green, wooded landscape had become increasingly deserted. When we pulled off at Ombutu Campsite that afternoon, we were surrounded by thick white Kalahari sand dotted by a few deep-rooted, weathered trees.

In the strangest, most isolated places, we'd see the construction of a modern factory or government building with all the mod-cons, like this building in Mpungu, a one-horse town in the sticks. Africa is a place of contrasts.

The road took us westward. Even the Honey Badger could clock up a few hundred kilometers in a day on good roads, and we were on a roll.

The desolate beauty of the bleached sand seemed to instill a feeling of tranquility in us. This ship-shape, well-maintained campsite was just what the doctor ordered. That night, we chose to have dinner at the restaurant. The staff were all friendly, and my spaghetti Bolognese was surprisingly tasty, while Butch enjoyed his hake and chips. The potato fries were delicious; I'll have you know these were not processed chips, but hand-cut from locally sourced potatoes, the enthusiastic young chef told us.

We woke up the following day feeling energised. After a refreshingly cold shower, we returned to the road, ready to face the day.

The road took us past foreign-sounding villages like Epembe, Omundaungilo, Ondobe, and Oshikango, all the way to the Namibia-Angola border post.

The lack of colour can help reduce distractions and make the image more focused, allowing the viewer to concentrate on the main subject and message. Trees, shrubs, and humble abodes were the perfect subjects for my Ripley gamble.

Monochrome photography is versatile and suitable for various genres, including portraiture, landscape, architecture, and street photography, offering diverse creative possibilities. 

Bouncing around in the Honey Badger, I agreed with the pros who argue that technical advantages, such as monochrome sensors in digital cameras and the sophistication of our smartphones, offer higher-resolution and lower-noise photos, particularly in very high or low-light conditions. While travelling, even at a relatively slow speed, the shutter speed on my iPhone is far superior to that of my DSLR camera. 

---oOo---

Stay tuned for the next adventure, as we set our sights on Angola and the new mix of experiences and a kaleidoscope of colours, customs and cuisines it has in store. We'd love to hear about your travel and photography experiences, so feel free to share them in the comments below.