Category Archives: Uncategorized

Big Brother


Big Brother is a finalist in the Renaissance Photography prize and awarded the Metro Portfolio prize  at Format Photography Festival and secures a commitment to publish from Dewi Lewis. It’s also a cover story reviewed in  Source Magazine, and in BJP Online.

I will hoping to fund the book with Dewi Lewis on Kickstarter this coming October, stay tuned!

In a hurry and want to know about the projects future developments please find me on Instagram or twitter @louisquail

Big Brother is an intimate photographic portrayal of my brother, Justin’s struggle with schizophrenia. It utilises multiple sources of documentation to show his life from different perspectives; his art, my photographs and narration juxtapose with medical and police records. The work reveals a system in crisis, but at its heart is a love story and a project that values and celebrates those suffering from mental health.

This page shows a small sample of pictures and discusses the projects ambitions.

Shine On You Crazy Diamond

Where it can be seen

I am currently looking to publish the work as a book and show it as an exhibition as well as disseminating the project in talks and presentations. The work may also be translated (funding allowing) into a performance, using more experimental and explorative forms, to draw out parts of the story, which are difficult to document.

Shine On You Crazy Diamond


Schizophrenia is a disease that can wreck lives; it can explode whole families (it did ours) and leave shock waves that can be felt generations later.

One in four of us will suffer from a mental health problem in the UK this year. Despite this, funding is shrinking and increasingly the police have to step in to fill the space; with sometimes absurd consequences.

Justin has been sectioned three times in his life and there is no getting away from the fact that his condition is severe. Yet hopefully as we turn the pages and get to know him better, we see there is more to Justin than his illness. He has interests, hobbies and yes, loves. Justin has been dating his girlfriend, Jackie for over 20 years; although its not always a straightforward relationship. Nevertheless, the love story is central to the projects narrative, revealing their lives and also the authorities ‘Kafkaesque’ and clumsy attempts to both care for, and or control the pair.

Justin’s passion for bird-watching is a theme which knits the book together from start to finish; the resilience he draws from this hobby is an important theme.

This book did not set out to be a political polemic; rather, my intention was to fight stigma and share Justin’s story so we can understand, empathize and celebrate Justin’s individuality. However, inevitably by studying the problems affecting my brother, the work speaks of and draws attention to the crisis in mental health care, raising important questions about how we look after our most vulnerable citizens.


Justin’s self-portrait

Shine On You Crazy Diamond

Shine On You Crazy Diamond

Shine On You Crazy Diamond

Shine On You Crazy Diamond

Shine On You Crazy Diamond

Shine On You Crazy Diamond

Vision and Mission

I am seeking to personalise the global issues surrounding mental health and to contribute culturally to conversations about how we fund services and care for our own. This work is a call to action, but also storytelling is what we humans do; by sharing our experiences, we help each other. Big Brother is important as a document, but at its core is its intrinsic artistic value; contributions by both myself and Justin can be valued in themselves and also as sparking points for other people’s creative journeys.

The project is still in development and I am looking for partners and assistance especially for:

Funding ( including crowd)

Exhibition venues

Talks and events



Marketing and social networks

please contact me if you can help, interested in an advance purchase of the book or would like or to be added the mailing list:

"Dead blackbird , I took it in to renaltas group and painted it 2011-13"



Dying Matters

Exploring how photography can help us make sense of loss, with pictures by: Anastasia Taylor Lind, Lydia Goldblatt, Briony Campbell and Guy Martin.


Having suffered loss and photographed loss I can understand the importance that photography can play in helping us come to terms with losing our loved ones. When I think of my parents (who died in 2010,  very close together) the memories are often linked to photographs I have. For me at least my memory is sparked by imagery, and photography, being a medium that is very well suited to exploring the passing of time, is the natural partner to this process of remembering.

In my project Before They Were Fallen, exploring Remembrance, the passing of time and loss is revealed very directly in the comparison between two pictures: a family snap and its recreation taken after a death in action.

Before They were Fallen , Afghanistan Remembrance

HELENA TYM AND ROBIN THATCHER from Berkshire, are the parents of Rifleman Cyrus Thatcher who was killed on June 2nd, 2009, in an explosion whilst on patrol in Helmand province. He was 19. Before: Helena, Robin and Cyrus at home in Reading, Prom Night, May 2006. After: At home in Reading, July 2015 “We haven’t taken many photographs since Cyrus was killed, because all we see, when we look at them, is the one face that isn’t there. That’s why, when we were approached about this project, we wanted to do it, because it conveyed exactly how we feel. There is this space all the time, and I feel it very physically, so to be able to show it in a photograph is really important.”

Elsewhere in the project I used photography  to explore the potential for objects to store traces of a loved one.   The pictures consider the  possibility that we can  lock memories within a solid form such as  an object of significance.  They then store emotional potential like a reservoir  for thoughts and emotions, to be released by touch or through a visual connection.

UK _ Remembrance Objects of Significance , TONI O’DONNELL

Stones and Stuff “Gary loved to collect fossils, stone and shells form the places he went. He would be able to tell you exactly where each piece came from.” Toni O’Donnell, lost her husband, Warrant Officer Class 2 Gary ‘Gaz’ O’Donnell GM, from 11 Explosive Ordnance Disposal Regiment Royal Logistic Corps, when he was killed on Wednesday 10 September 2008, in Helmand province.

I know from the interest I have had in the story both from the participants and the audience  that photography as a tool to explore loss can be very effective and that there is a huge appetite for imagery dealing with this issue. When I was invited to be a Judge for the Dying Matters photography competition along with Rankin, Lisa Pritchard ( and several judges  from outside of the  photography industry) I really wanted to support it, believing apart being a from fund raising opportunity for the charity,  the competition was also a brilliant vehicle for people trying to make sense of their own loss and bereavements.

The  theme for the competition which can you enter here is broadly dying and  bereavement ,

“To enter, you need to submit a photograph and text to Celebrate Life in the Face of Death.  Your photograph could be a place, person, or object or abstract composition exploring dying, death or bereavement which:

Is a memory or moment of someone or something special in your life
Is a representation of a life changing experience or achievement
Depicts community spirit
Reminds you of mortality”

With that in mind I wanted to use this blog to show case some pictures that I feel deal with the subject particularly well in the hope that I can inspire some of the entrants. These pictures are selected  from  the work of friends and colleagues  and bearing in mind I’m a documentary photographer this genre is particularly well represented in this selection. They deal with public and private loss .

Brioney Campbell and Lydia Goldblat are two photographers who have dealt with the approaching  death of their fathers in  a very personal and hugely inspiring way. The Photography engages us immediately,  poetically and with intensity. The viewer shares the journey to the point of departure on an extraordinary  intimate level.

The work, undoubtedly, is part of the grieving process for Briony and Lydia; but through their attempt to make sense of their loss , and their generosity in sharing, we the viewer have  privileged access to this very private process.

Briony’s The Dad Project works with film and image; the sound is crucial in the film but always its the stills that hold our attention rather than the moving footage.


“You seem like a very kind man David”. “Well thank you Alan I tried”. Alan the paramedic’s eyes were full when he replied; “Just keep on trying is all I can say to you my friend”.


Me (Briony) as Dad, 1986



Today we knew he would die soon. I went outside and looked at the sky while we waited for the ambulance. It was perfectly beautiful.

Lydia’s series, Still Here (Hatje Cantz 2013 ) seeks to make sense of the transition between  life and death, by searching for the poetic or ‘metaphysical’.

According to the publisher “her work offers a concentrated meditation on mortality, time, love and loss, in which corporeal scrutiny courts metaphysical wonder. The images are often limited to a single detail: a timepiece abandoned on a shelf, a closed eyelid, the sunlit form of a bee.”

Lydia herself says of her work “Photographing, for me, is a means of giving expression to both the internal and external processes that shape our experience of life”

she is “interested in the indefinable thresholds that mark out our individual existence, and in the subtle process of erasure that returns us to the state from which we emerge.”


From the personal to the public sphere I wanted to show case the work of two other friends and colleagues , Anastasia Taylor-lind and Guy Martin , who like me have been interested in new ways of documenting  aftermath of conflict. They  both offered an interesting take on the Maiden protests, ( Kiev, Ukraine, February 2014)  that led to the shooting of 112 protestors.

Anastasia did not set out to document death or dying, I’m  guessing originally , but her project which began as exploration of the idiosyncratic nature of the protestors and their home made Armour soon became a study of  loss following the tragic shooting and deaths  of 112 protestors . An insight into the work is inferred from a recent quote, “Men fight wars, and women mourn them,”

Portraits from the Black Square Is published by Ghost books 2014 .

MAIDAN - Portraits from the Black SquareMAIDAN - Portraits from the Black SquareMAIDAN - Portraits from the Black SquareMAIDAN - Portraits from the Black Square

Guys work, ‘Shrines of Maidan’,  is again impressive in its simplicity , in his words the pictures ‘serve as reminders of the lives that were lost during the early convulsions of the Ukrainian revolution. He explains “photographers, returning to locations months and years after bloody and often violent events have taken place are often fraught with the weight of responsibility. How can it be possible to represent those historical events when all but the slimmest trace of of that specific violent history remains? These shrines, dotted along a snow covered avenue were not only a physical monument to those events but also a reminder in the enduring power of the simple family album image.”


I hope these pictures give you a flavor of what is possible in both public and private spheres when photographing  Death and dying; and most importantly the inspiration and courage  to enter the competition.

Enter here>


End of Year Update #BeforeTheyWereFallen

Before They Were Fallen  is a project dealing  with remembrance. Myself and Katy Regan use the power of photography and testimony together, to link memory, the passing of time and loss to create a body of work which pays tribute to  the British soldiers who gave their lives in the Afghanistan conflict.

This blog is dedicated to giving news of  the exposure the work has been receiving, which with the help of our really excellent public relation guru  Helen Nesbitt has been impressive. Thankyou @helennesbitt.

Please forgive the numbers and technical nature of the post here, I just wanted a place to share all the wonderful exposure and  the progress of the work in detail, a summary is available on the news page.

Press and Publicity

16/09/2015 Phill Coombes BBC

This post leads to a sharp spike of visits ( 5000 a day ) to my site and 5100 shares, whilst on the main page.

Following this publicity I discovered 200 secondary shares on the National Arboretum blog with many overwhelmingly positive comments  and is hopefully representative of secondary sharing which is hard to track.


Screenshot 2015-09-22 14.49.36.png

Screenshot 2016-03-05 09.21.18

Screenshot 2015-09-22 13.48.25.png

British Forces Broadcasting Service  carry out a radio interview by Nicky Smith  (@producernicky)  which can be downloaded here.

 31/10/2015 Publication

Guardian Weekend ( publishes as scheduled, running the project over seven pages ; the project is shared 3100 times on Facebook and other platforms; Candis Magazine scheduleto run the story in the February 2016 issue.

Touring show – 18/09/2015, Four Corners Gallery – 05/11/2015 Oriel Colwyn.

The exhibition has been well received at both venues. In Wales we received  local coverage from the North Wales Pioneer and  impressively a visit from ITV Wales with a prime time news slot on the 05/11/2015 (395000 estimated viewers); in addition  they hosted the work on the main ITV web site.

There have also been  many supportive and warm comments.

To coincide with the  showing at  Fife FotoSpace Gallery in Glenrothes, Scotland (18/01/2015 until 25/02/2106)  a talk about the work  at Napier University was given and both Forces TV (27000 viewers daily 582 online sharers ) and Scottish ITV (6800000 estimated viewers ) broadcast short films.

There have been two more requests to show the work , news to follow, perhaps at the end of this year.

Helena Tym told us in her interview, “For me, Cyrus lives until the last person who says his name, dies. …I want people to know that our soldiers are not just machines who go out there for killing, that they’re human beings; who had family who loved them very much”.

So keeping the memories alive is hugely important and knowing the work has been so well received is  also very rewarding. I will leave you with this spontaneous tweet from respected photographer Abbi Trayler-Smith. Its  very welcome  and representative of the warmth of feeling the work has generated.

Screenshot 2015-12-12 16.35.10.png

This slideshow requires JavaScript.

This slideshow requires JavaScript.


As always its been  a privilege to share these stories.












Before They Were Fallen, The Exhibition is here.

Please see below for the Press Release:

A new exhibition exploring loss and remembrance through a singular take on simple family photographs, and powerful personal testimonies

Opening 14 September 2015 at Four Corners Gallery,  Before They Were Fallen deals with remembrance. Louis Quail uses photographic portraits and testimony to link memory, the passing of time and loss to create a body of work which pays tribute to the fallen soldiers of Afghanistan.

The central concept of the work is the recreation of a family snap. The pair of pictures, the original, and the recreation – which shows a space where the soldier should be -together challenge the viewer to compare the past, before the soldier was fallen, to the present and the reality of their absence.


Toni O’ Donnell with her husband Warrant Officer Class 2 Gary ‘Gaz’ O’Donnell GM, from 11 Explosive Ordnance Disposal Regiment Royal Logistic Corps, Gary was killed disposing a bomb on Wednesday 10 September 2008. Picture right was taken April 2015.

Quail’s compelling approach to the image, alongside sensitive interviews by author Katy Regan, tell the stories of the families and friends of the fallen – those left behind.

In the work, Quail uses his perspective as an artist to add to and question traditions of remembrance; offering an alternate view. The exhibition captures an intimate experience of commemoration; and the privilege of understanding the soldiers as individuals through the rich and personal memories of surviving friends and families. It demonstrates the sacrifice of the soldiers more fully by understanding the impact on those left behind.

Quail first used the technique of recreating a picture of a fallen solider on an editorial assignment in Libya. He developed the idea as an original way of exploring the aftermath for loved ones when a life is lost in conflict. Speaking about his work on the project alongside writer Katy Regan, Quail explained, “Once we had encountered the raw devastation of the participants we both realised there was a huge responsibility here to do our very best to pay tribute to the fallen and reveal the sacrifice also of the families involved.”

The artist has experimented with other storytelling approaches. In addition to family photography, the artist pictures significant objects. Quail invited participants to nominate a few treasured possessions that have particular significance to them in connection to their ‘fallen’ loved ones. Using large format photography and focusing on the material physicality of these often ordinary objects, he has revealed the items afresh showing their now extraordinary significance as artefacts.


Gary O Donnell’s Beret, “His Work meant Everything to him, when I look at these ( his beret and identity tags) I think of the word Hero”, Toni O” Donnell

Equally within the project Quail has explored multimedia; always anchored by the desire to give space to the personal stories. His short film and sound piece add a different perspective and dimension to the work.

Quail and Regan plan to complete the work by collating the material they have gathered for the project into an archive featuring images and first person testimonies of each individual photographed, potentially in a book format. They hope it will be a fitting legacy of the emotional and physical impact felt by the families involved.

In creating the project, Quail considered the many First World War commemorations and exhibitions, each a reminder of the devastation of the Great War. He sees the work as part of this tradition of documentation and reflection on war, which is essential in reducing the call to arms.

This project is dedicated to the 453 British soldiers and all those who lost their lives as a result of the war in Afghanistan; as well as the families and loved ones they left behind.

 Notes To Editors

The exhibition, created through the generous funding of the Arts Council England, opens in Four Corners Gallery, Bethnal Green London and continues in locations around the country.

Quail and Regan received support from a number of charities throughout their research for this project. Visit their websites to find out more or donate:,,

For more information contact Louis Quail on or Katy Regan

Before They Were Fallen at Four Corners Gallery, 121 Roman Road London E2 0QN

Please Email for an invitation to the Private view.

Gallery opens 11am-6pm Monday 14th to Saturday 26th September. Free entry.

Bethnal Green tube

The exhibition continues in Oriel Colwyn Gallery, North Wales, November 5th to December the 5th 2015 (with a special viewing arranged for Remembrance day) and FOTOPACE Gallery, fife Scotland, Monday 18th January – Saturday 27th February, 2016

Print450_1303_NewCreativeMarkets_final_logo ERDF Logo Landscape Colour copy Four Corners copy

Katy Regan

Katy Regan is a journalist and novelist. After working as Features Writer and Commissioning Editor for Marie Claire for five years, she left to go freelance and is a regular contributor to many national magazines and newspapers including Psychologies, The Times, Good Housekeeping, Stella magazine, Red and Marie Claire. She is also the author of four novels all published by Harper Collins; the latest being The Story of You. Her author website is Follow Katy on twitter @katyreganwrites

Louis Quail

A successful editorial and commercial photographer for many years, working for some of the UKs best know brands: e.g. Sunday Times; Telegraph Magazine; Marie Claire etc Louis has recently switched his focus towards exhibiting his work. Recent successes, such as being selected for the Renaissance Prize; several prestigious UK festival and gallery shows (including ‘Open” at Liverpool’s Open Eye Gallery May2015) and receiving Arts Council funding for the project ‘Before They Were Fallen’ reflect this new outlook. He has twice been a finalist at the National Portrait Gallery portraiture award and is held in their permanent collection. He lectures at the London Met. and is represented by Picture Tank. Follow Louis on twitter @louisquail

Before They were Fallen – the Blog

The intention was to write and blog about this project on a more regular basis – say, every month, but this is the first time I have pressed the keyboards since our project #BeforeTheyWereFallen received Arts Council funding back in August.

I’m beginning to realize that the sensitivities around the project make it very difficult to blog in the usual manner. I have started several times but how do you write without sounding trivial when you’re talking about a mother who has lost her son? A wife widowed; a child orphaned, siblings and friends bereaved and 453 British casualties? The blog as a format itself seems trivial.

What we can do is to say a huge thank you to the case studies who have participated. I/we want to thank all of you personally for your strength, your emotional commitment and also for ‘getting it’: for understanding what we are trying to do with this project.

In Before We Were Fallen we are attempting to bridge the gap between personal memory and our national tradition of ‘Remembrance’; to give a voice to the families and loved ones of our fallen soldiers. Nationally, remembrance tends to be a formal affair, led by the military where the whole country from the Queen and Prime Minister down to the citizen pays tribute to the bravery of our soldiers.

By its very nature there is distance created between the national act of remembering and the reality of the suffering for the loved ones left behind to cope with their very personal devastation. This distance has entrenched itself in our traditions: ‘we don’t intrude on personal grief’.

In this project we have a very intimate experience of remembrance; we have the privilege of understanding the soldiers as individuals through the raw and personal memories of surviving friends and families and are able to see the sacrifice of the soldiers more fully by understanding the impact on those left behind.

Many people will ask, why intrude on the grief of these people? Leave them alone. Many will be left alone and will want to be left alone, but there is a fine line between respectful distance and simply being ignored. We have discovered that for many, publicly sharing their memories, however personal, is a vital and important act of paying tribute and they do it for a variety of reasons.

Anne Linley, Birmingham,  is doing this for her son Brett: “I want the world to remember my son Brett and his ultimate sacrifice for all time as I won’t always be here to make sure he is remembered. Every thing I do today, tomorrow and always, is for Brett and his memory”

Of course I understand those who would consider the project intrusive, and it is a social and ethical minefield which many would rather step back from, but I also remember back in Kosovo in 2000, when I interviewed and photographed survivors of the conflict for my first project on aftermath, how thankful people were that I had come to hear their stories that had never been told to an outsider before. I realised then, that for many, much worse than intrusion when a loved one is lost, is to be ignored.

So here we are: We have ten case studies completed and ideally we would like ten more. We would still particularly like to hear from soldiers, comrades and friends as well as families, so please feel free to share this.

We’d also like to take the opportunity here to thank Graham Bound, author of At the Going Down of the Sun – a hugely moving and important collection of stories about our fallen soldiers, plus interviews with their friends and families. Graham has helped put us in touch with families which has been very generous of him – thank you Graham!

We would also like to extend our thanks to all those we haven’t thanked before: the folks at Hanbury Hall and Ashridge Arms in Cwmbran, Wales for example for allowing us to photograph on their premises.

Before I sign off, I/we’d like to reveal the confirmed dates of the first show in London at Four Corners Gallery, 121 Roman road as Monday 14th to Saturday 26th of September .

Who’s In Liverpool for Open 1

Very happy to be involved in Look 15, Liverpool’s International Photography Festival this year starting with inclusion in Open 1, at the Open Eye Gallery on the opening night of the festival, Friday May 15th. You can see the Series Desk Job there; the curatorial team have selected six artists whose work is thematically grouped around ideas of social portraiture. Watch out for news on the limited edition book on the project published by Square Magazine. On the following Monday I’m participating in two events : Building the perfect photographic project with Redeye and The Ethics of Portrait Photography, a transatlantic view , at Victoria Gallery and Museum (6.30 pm and free`) .

Desk Job - Workers at their Desks Around the World


Be lovely to see you !

Big Cats, New Shoes and Police Corruption: Three Weeks in Kenya.

Today’s Guardian’s Global Development site  is publishing  a story I produced ( with Journalist Zoe Flood ) looking at the extraordinary conditions for the mothers and children  of Eldoret in Kenya forced to scrape a living from the municipal dumps.

Kenya , Eldoret Dump – Living and Working  in Poverty

FlorenceKhalumbia (46) With daughter Alice (7 ) lives just 50 metres from the “California” dumpsite in a one-bedroom hut with her five children. None of the children go to school – she feels that it’s better that they stay home and help their family to earn a living. Eldoret’s main Dump nick named by the locals, ironically, as ‘California’ is home toa community of Kenyans who make their living here recycling plastic, metal charcoal and even scavenging for food either for themselves or for their pigs. The average adult here earns about 150 -200 Kenyan shillings (£1-1.30) The consequences for those who work here on a regular basis including woman and children as young as 7 is tough; with disease, injury, substance abuse and even the threat of violence an everyday reality. 


For  Guardian readers interested to discover more, please click/scroll as appropriate:

My Website,

My Instagram #louisquail

 The Blog:

Phrases I’m unused to hearing include, ‘Louis get in the car there is a Hyena behind you!” Or “Close the windows or the monkeys will get in”( they did) . I am not used to this level of wildlife.  This is the first time I have been to Kenya. I am here on assignment but am squeezing in a family Safari. Highlight of the trip to the world famous Masai Mara game reserve includes having tea with a lion ( well almost). We got as close as the jackal and vulture waiting nearby, anyway, as you can see here…

A Lion With its kill, sleeping off its meal, in the Masai Mara

A Lion With its kill; Check  more on Instagram #louisquail


The Work With charity Mary’s Meals

Africa is an amazing country with some amazing places to visit and wonderful people but also complex problems. One of the reasons for my visit is to document the work of Mary’s Meals.

Their charity’s mission is simple: to feed children in schools. In places where there is extreme poverty like Eldoret, this means children who would otherwise be forced by their parents to work, instead of attending school, have the advantage of being fed and educated at the same time. Buying food accounts for the majority of the weekly wage for poor families so for them it’s a no-brainer. The children get fed and educated and very often, respite from some tough conditions at home.

A teacher working in one of the supported schools offered an explanation as to why Monday was the favorite day of the week for one child: “For this seven year old, Monday lunch was probably his first meal since the last day he attended school on the Friday.” In chaotic households, with parents often using drink and drugs, the children often have to fend for themselves.

Me and the journalist were won over pretty quickly by two of the girls who would go to school during the week and work the dumps over the weekend .

Lucy Wambui (13 ) photographed in one of the classrooms at Attnas Kandie School.

They are included in the feature. Bright, cheeky and ambitious, ( ‘ I am going to be a journalist like you when I grow up”) Lucy even had the nerve to ask for a pair of shoes. One has to be very careful to avoid such obvious requests for handouts because of unforeseen ramifications; and it can be frowned upon.  So of course we said yes.

Shoes for Lucy  and Sarah

Shoes for Lucy and Sarah

It was worth it and then some, to see the look of pleasure on Sarah and Lucy’s faces.

In our report we concentrated on the mothers forced to work the dumps of Eldoret to make a living. We worked largely on the main dump. It never occurred to me there would be a problem covering an important story with an established charity; until of course we were picked up by the police.

This ended the photography at the dump, something to do with the right papers, blah blah, permission, etc etc. Ultimately, someone somewhere was looking for a handout . I suspect money exchanged hands simply so the charity could continue its work, or face the possibility of  being kicked out of the country. NGOs and their reputation for fair play are not always welcome in a country famous for corruption.

Don’t take my word for it Here is a link to an article to a friend of mine about Police corruption. Apparently the police kill more people than even the armed robbers .

What I did discover was that Kenyans do not get the best deal from their government and the work of charities like Mary’s Meals is still vital. What I also learned, is that despite many risks there are many Kenyans campaigning against injustice in Kenya.I was fortunate enough to meet and photograph several brave and tenacious activists. Boniface Mwangi , well known for his anti corruption activism, is one of the most well known. He is pictured here at the offices of his company . Forced into some kind of retirement for his own safety, he is directing his energy into art as an instrument for social change.

Boniface Mwangi poses on the roof terrace of the office at PWA254.

Boniface Mwangi poses on the roof terrace of the office at PWA254.

Like I said Kenya is an amazing if complex country. My time here was mixed: uplifting, shocking and inspiring in equal measure. But perhaps the best memories are those of the Masai Mara. As this is ( predominantly) a British audience, maybe it is fitting to  end ( in practice with internet tradition) with a picture of a cat.