Face Up or Step Out!

This magnificent Bongo provided much-needed protein to the five Baka trackers’ families and a lifetime of memories to this proud hunter. 

By Ricardo Leone

 

Attention all hunters, PHs, guides, outfitters, and magazine editors – STOP posting and publishing photos with the hunter’s face blurred or blacked out! Basic logic says that if you are trying to hide, you must be guilty. If you are guilty, then the rest of us hunters are guilty by association. I am a proud hunter, and I personally reject the notion that I am guilty of anything. In fact, I am a proud conservationist who takes great pride in knowing the money I pay for my hunts pays for conservation.

 

In the US, where I live, hunters and anglers pay 75% of all conservation. Smart federal legislation like the Pittman Robertson Act, the Dingell-Johnson Act, the Federal and State hunting and waterfowl stamps, and license fees collect billions of dollars each year exclusively for conservation. This funding, combined with science-based methodologies for quota leads to optimal wildlife management.

 

In Africa, our dollars also support smart conservation. We all know what happens when hunting is closed and conservation dollars stop flowing. I recall back in 2012, when I hunted in the Lower Lupande, a world-renowned Game Management Area in Zambia’s South Luangwa Valley. The animals were plentiful, hunting helped provide jobs and protein to the local villages, and poaching was well controlled. In 2013, new elections led to hunting being closed for three years. I returned to the same hunting concession in 2016 when hunting reopened. The concession was almost unrecognizable. What struck me most was the elephants that were truly spooked by any human sightings. It was clear that most game was terrorized for the three years when the outfitters were sent home and no longer responsible for the safekeeping of the land. I retuned again in 2019, and the concession felt more normalized. Keeping hunting open matters – most of all to the wildlife.

 

I totally understand why some people would not want their picture in the public domain. There was a time when I worked for a public company when I would not share my picture in articles. Now that I am retired, I proudly share my picture. If you do not want people to see your picture, then step out of the picture. By blurring or blacking out your face, you are demonizing all hunters. If you want to preserve your hunting rights, then find a way to stand proud either in front of the camera or behind it. There are enough antis out there, and you are helping their cause by looking guilty. Either stand proud with your face up or step out of the picture – period.

Grey Ghost Hunting

By Alessandro Cabella

 

March 30, 2026 will remain etched in my memory as one of those rare days in the bush where nothing goes according to plan, yet everything falls perfectly into place.

 

The morning began with quiet confidence, the kind that comes from experience and familiarity with the land. But despite our efforts, it offered no real opportunities. The wind was already restless, shifting unpredictably and making every approach difficult. Animals were alert, unsettled, and always just out of reach. By the time we broke for lunch, we knew it had been one of those mornings where patience was tested more than anything else.

 

But the bush has a way of changing its mood without warning.

 

Right after lunch we headed back out, determined, but grounded in the reality of the conditions. The wind hadn’t improved – in fact, it seemed even more inconsistent, forcing us to constantly change direction. One moment it worked in our favor, the next it betrayed us, carrying our scent ahead and scattering whatever game lay in front.

 

The animals were equally unpredictable. Wildebeest moved in restless waves, each group reacting differently, running in all directions as if unsure where safety lay. Zebras cut across the landscape in sharp, nervous bursts, while impalas and springboks darted and regrouped in a constant state of alertness. At times, it felt less like a hunt and more like standing in the middle of a migration – chaotic, alive, and impossible to fully anticipate.

 

The humidity added another layer to the challenge. Thick, heavy air clung to everything, slowing movement and sharpening every scent and sound. It was the kind of afternoon that demanded persistence, where success felt increasingly unlikely with each passing hour.

 

Hunting with Ryan Beattie in the Eastern Cape of South Africa makes even days like this memorable. The land itself is breathtaking – rolling hills, dense bushveld, and open stretches that seem to carry life in every direction. Ryan’s understanding of this terrain, and his ability to read both wind and wildlife, kept us adapting, never giving up on the possibility that the day might still turn.

 

By mid to late afternoon, we began to accept that the hunt might end without success. There was no frustration – just the quiet appreciation of having experienced the raw, untamed rhythm of the bush.

 

And then, just as we were preparing to call it, everything changed.

 

Two massive kudu bulls appeared in the distance, 560 meters out, their silhouettes unmistakable even at that range. Instantly, focus returned. The wind, though still shifting, gave us just enough to work with.

 

We moved carefully, using the terrain to our advantage.

 

Then, one of the bulls began to approach.

 

Closing the distance to roughly 200 meters, he moved with calm confidence, unaware of our presence. It was a rare and perfect moment, the kind that comes only after a day of persistence and patience. The shot presented itself downhill. The .300 Win Mag felt steady despite the long, demanding day. Breath slowed. Focus narrowed.
The shot broke clean.

 

The kudu dropped on the spot.

 

Silence followed, then the realization of what had just unfolded. A clean, ethical shot. A magnificent animal. And a moment earned through a full day of adapting to everything the bush had thrown at us.

 

Ryan’s steady guidance throughout the day and Juan’s sharp eye in spotting the bull made it all possible. It was teamwork, experience, and respect for the land coming together in a single, unforgettable moment.

 

Set against the magnificent backdrop of the Eastern Cape, this wasn’t just a successful hunt.  It was a reminder of why we return to the bush – for the challenge, the unpredictability, and those rare moments where everything aligns.

 

Back at Malweni, the experience only deepened. The green, thick beauty of the vegetation surrounded us, lush, alive, and rich with the same energy we had felt throughout the day. We were welcomed back to a charming stone cottage, a place that felt both rustic and warm, where stories of the hunt could be relived in comfort.

 

As the sun dipped below the horizon, we celebrated in true South African fashion, with incredible local wines and a traditional braai. The fire crackled, laughter carried into the evening air, and the success of the day settled into something even more meaningful: shared experience, camaraderie, and deep appreciation for the land and its wildlife.
Another unforgettable day with Dubula Hunting Safaris, one that will not soon be forgotten.

 

Thank you, Ryan and Juan, for this wonderful kudu trophy and an experience that will stay with me forever.

Accuracy: It’s All Relative

By Terry Wieland

 

Like situational ethics, standards of accuracy vary according to circumstances.  Many years ago, I had a Sako 6 PPC that would, with Sako factory ammunition, print quarter-inch groups so relentlessly that I was sorely disappointed if one ballooned past a half inch.  That was one supremely accurate factory rifle.  It was also, in short order, extremely boring.

 

More recently, I’ve been playing with a Stevens .25-20 Single Shot — a target rifle that was, in its day, comparable in reputation to that Sako — and at one point I could not get it to put a hole in a foot-square target at 15 yards.  That’s fifteen yards.

 

I would have fallen to my knees in gratitude if the Stevens had put five shots anywhere on a target at a hundred yards, with the bullets flying straight and not keyholing.  That would have constituted gratifying accuracy.

 

Years ago, I had a friend who was a serious benchrest shooter and long-range varmint hunter.  His passion for the .220 Swift was almost indecent.  One day, he walked into the local diner and announced that he had just purchased a Winchester ’95 in .38-72, and had a set of loading dies on the way.  That rifle shot patterns, not groups — about Light Mod, according to one witness — but my pal was determined he was going to get it shooting to big-game accuracy and go deer hunting.

 

When I questioned him, he confessed he felt he’d gone about as far as he could go with the .220 Swift and his benchrest rifles.  He wanted a change of pace and was sure the .38-72 would provide it.  Indeed it would.  After months of waiting, he finally received his custom dies, was casting suitable bullets, learning how to fashion his own brass, and reported that he was getting the occasional group at 100 yards that measured under a foot.  Not bad, he thought, with iron sights.  It was measurable progress, and that was really all he wanted.

 

Since my experience with the Sako 6 PPC in the early 1990s, universal standards of accuracy have changed dramatically.  At that time, Kenny Jarrett’s guarantee of half-inch groups with his rifles and tailored ammunition were radical; today, every second rifle company is making such a guarantee.  (In my experience, only Jarrett rifles have actually delivered, but that’s a different issue.)

 

Instead of being an almost unattainable goal, half-inch groups have become the minimum acceptable standard —  not for benchrest, which is far beyond that, but for everyday hunting rifles.  At the same time (and here is the contradiction) such groups need only be three-shot, not the five-shot standard of the ‘60s, or the 10-shot standard of 1910.  On the one hand, we toughen the standard, while on the other we ease off on the difficulty of getting there which, it seems to me, pretty much renders the whole process pointless.

 

The Stevens target rifle I mentioned above is a Model 47 “Modern Range” Schützen rifle, built on the No. 44½ action, more than a century ago.  Such rifles were capable of extraordinary accuracy; author Gerald Kelver wrote of a friend’s rifle — this one a .28-30 — that could be counted on to hit a half-dollar at 100 yards, ten shots out of ten.  He also quotes the guarantee issued by Milton Farrow with each of his target rifles:  ten consecutive shots into a four-inch  circle at 200 yards.  For their higher grades, Stevens guaranteed ten shots in a 3.5-inch circle.

 

If that seems mediocre, consider this:  That equates to ten shots into 1.75 inches at 100 yards, and there are very, very few modern factory rifles that will do that.

 

As for my Stevens, we progress:  It will now plant shot after shot into a standard target at 100 yards, and the groups are tightening as I vary the velocity, bullet temper, width of driving bands, and powder type.  One of these days, it may meet Farrow’s standard.  If it doesn’t, I will have had a lot of fun trying — far more than I ever got shooting the Sako 6 PPC into one predictable

quarter-inch group after another.

That Elusive and Maddening Quality Called Accuracy

A no-holds-barred, Al Biesen custom .270 Winchester, built on an FN Deluxe action, probably in the 1970s.  It was accuracy state-of-the-art then, and as a big-game rifle can hold its own with any product of today.

By Terry Wieland

 

Everyone has his own definition of accuracy, but on one thing we all agree: Every rifle is a law unto itself.  What shoots well in one rifle may or may not shoot well in another.

 

Although the average factory rifle today, paired with premium factory ammunition, is vastly more accurate than it was even 20 years ago, for the absolute, very best, gilt-edged accuracy in any rifle, you must develop an accurate handload.

 

Undoubtedly, manufacturers today have the essential elements of accurate rifles down pat, to the point where they can produce some outstanding factory products at a low price.  Ruger and Savage are good examples.  Even so, they won’t all shoot well with every load, and all of them can be improved with handloads.  Granted, sometimes the factory/factory combination is so good that handloading for improvement is hardly worthwhile, but that’s a personal judgement.

Having said all that, let me now share a tale of a rifle that proves the point.  Last year, I lucked into a custom .270 Winchester, built by the legendary Al Biesen on an FN Deluxe action, probably in the 1970s.  It is beautifully inletted, with the action partly glass bedded.  It has a tight chamber with almost no freebore.  In fact, with the 130-grain Nosler Partition (one of my all-time favorite bullets) it has no freebore at all:  Seated to the SAAMI maximum of 3.34 inches, the bullet just brushes the rifling and, seated to that depth, the base of the bullet is exactly even with the base of the neck.  These are all ballistic virtues that we know promote consistency and accuracy.

 

From Tom Turpin, a .270 lover of long standing, I got the formula for a load he says delivers fine accuracy with any good 130-grain bullet.  The load is 59.5 grains of H4831, long known as one of the finest powders for the .270.  As an experiment, I put together some rounds loaded with the Partition, as well as some with the Swift Scirocco II, and the Sierra GameKing spitzer boat-tail.  The latter two do not fit the chamber specs mentioned above quite as well as the Partition, but close.

 

At the range, the Partition load was, frankly, dreadful.  Velocity wasn’t bad, at 3020 fps, but its five-shot group was evenly spread out three full inches, side to side.  The Scirocco II won the velocity contest, at 3060, and also delivered the best accuracy overall with a 1.25-inch five-shot group.  Sierra was the slowest at 2998 fps, but put four bullets into a tight cluster (.77 inches) with one flyer expanding the group to 1.4 inches.

 

Let me hasten to say that I love Partitions, firmly believe they are among the most accurate bullets made, and have shot some of my all-time best groups with them, in several different calibers.  From my chamber measurements, it looked to me as

Although the Sierra had the lowest velocity, and its overall group measured 1.4-inches, that .33-inch four-shot cluster suggests that increasing the velocity a little might result in gilt-edged groups.

if Al Biesen fashioned this rifle specifically for the Partition, but apparently not.  At least, not at that velocity.  I will try different powder charges, and different powders, before I give up on them.  There is no reason at all that they shouldn’t shoot like a house afire.

 

Meanwhile, either of the other two are excellent hunting loads, and a little variation up and down my tighten those groups even further.

 

Group size aside, this Old Master of a custom rifle behaved to perfection, moving groups up and down like clockwork as the velocity varied, and putting them all in the same relative position on the target.  There was not a hint of vertical stringing, and no discernible changes as the barrel heated up.  In other words, all perfect — except for that maddening three-inch group!

 

But that’s the accuracy game with hunting rifles.  Each one is a law unto itself, and you can never take anything for granted.

 

Wildlife Artist: Justin Prigmore

Shaped by the Wild 

 

Born in Wales and now long settled in the Highlands of Scotland, the artist’s journey into wildlife art has been shaped as much by geography as by curiosity. Art was always a quiet constant in Justin Prigmore’s life, but it wasn’t until a formative gap year in Colorado that wildlife emerged as his true subject. While studying for a degree in Business Management, a visit to the National Museum of Wildlife Art in Jackson Hole proved pivotal. Standing among those works, Justin realised with sudden clarity that art was not simply a passion, but a calling he wanted to pursue for life.

 

At the time, a career as an artist felt far from practical. Yet the vast landscapes and cultural reverence for nature he encountered in the American West shifted his outlook entirely. Determined to ground his creativity in knowledge, he went on to earn a Masters in Environmental Science and Ecology. His early professional years were spent working in wildlife conservation, a path that not only supported him financially but also deepened his understanding of the natural world. Eventually, Justin’s dedication allowed him to transition into life as a full-time artist. Today, his work has earned international recognition, numerous awards, and a place in prestigious exhibitions, galleries, and prominent collections around the world.

Justin’s inspirations come from both the art world and the conservation community. During a ski season in Colorado, he encountered the work of wildlife painter Edward Aldrich, who was exhibiting in Vail. It was the first time he had seen someone successfully making a living as a wildlife artist, and the impact was immediate and profound. Although his ambition initially far outpaced his technical skill, that encounter set him on a path of decades-long learning and perseverance. Nearly thirty years later, at the Western Visions show at the National Museum of Wildlife Art in Jackson, he finally met Aldrich in person and was able to tell him just how life-changing that early influence had been.

 

Another towering influence has been Robert Bateman. Through his books, the idea of an artistic life became not only attainable but thrilling. Bateman’s ability to weave together travel, wildlife, and art—moving seamlessly from a tiny wren to a monumental elephant—revealed a career that could be adventurous, purposeful, and deeply connected to the natural world. Today, Justin’s inspiration extends beyond any single genre. He is drawn to artists who can capture the essence and feeling of a subject without excessive detail, a quality he admires in deceased painters such as Kuhnert and Kuhn, and one he continues to strive for in his own work.

African elephant painted in oil paint

Equally influential were the conservationists he worked alongside early in his career. Their commitment to protecting wildlife reinforced his belief that art has a role to play in fostering connection, empathy, and care for the natural world.

 

Wildlife remains both his greatest passion and his greatest challenge as a subject. Unlike human sitters, animals do not pose, and the most compelling wildlife art comes from deep familiarity with its subjects—their behaviour, movement, and the environments they inhabit. That understanding can only be gained through long hours spent outdoors, often in difficult and unpredictable conditions, watching stories unfold in real time. While demanding, the process is deeply rewarding, and collectors often respond to the authenticity embedded in the work, recognising echoes of their own experiences in nature.

His favourite subjects are often shaped by place. Africa holds an enduring pull, with lions, elephants, and buffalo offering endless inspiration. The Highlands of Scotland, his long-time home, are equally close to his heart, their landscapes and wildlife woven into his sense of identity. More recently, he has been drawn back to the American West, a region whose powerful combination of dramatic scenery, abundant wildlife, and vibrant art culture continues to captivate him.

 

Hunting has also played a significant role in shaping Justin’s relationship with the natural world. He grew up in the UK bird shooting and fishing, influenced by his father’s enthusiasm for both pursuits. Later in life, he began stalking deer in Scotland, often through invitations from clients who wanted him to experience their land firsthand. Over time, this evolved into a deep appreciation for stalking—not simply as a hunt, but as a way of immersing himself in wild places and gaining a more nuanced understanding of animals and their habitats.

 

His career has opened doors to experiences far beyond the studio. On a recent commission in Florida, Justin took part in a quail hunt on horseback across a vast ranch. Despite not being a natural rider, he embraced the challenge and found the experience so rewarding that he has returned in subsequent years. For him, it offered a unique way to move through the landscape and engage with it on a deeper level.

Through hunting, Justin has forged lasting friendships with generous, passionate people and gained perspectives that continue to inform his art. Above all, these experiences have strengthened his connection to wildlife and the environments it inhabits—connections that remain at the heart of his work.

Bio

Justin Prigmore was born in Wales in 1974 and currently lives in the Scottish Highlands with his wife, two daughters and a labrador. His career has been shaped by extensive travel throughout the American West, Africa, and Europe. His paintings are exhibited worldwide and held in prestigious private and institutional collections. Through his art, he seeks to capture the essence of wildlife and place, fostering a deeper connection between people and the natural world. He has a MSC in Environmental Science and Ecology and as well as being a painter, has worked in nature conservation for organisations in the UK including the Cairngorms National Park Authority and the Royal Society for the Protection of Birds. Born in 1974 in Wales,

 

Justin has exhibited his work internationally in prestigious juried shows, auctions and galleries, including with the Society of Wildlife Artists, the Society of Animal Artists and at the National Museum of Wildlife Art in Jackson Hole. He has gained a reputation for dramatic and powerful large-scale paintings and his work can be found is some very prominent collections world-wide. Awards include the Liniger Purchase Award from the Society of Animal Artists, the Best British Wildlife Award at the National Exhibition of Wildlife Art and the winner of Birdwatch Magazine’s Artist of the Year. He is represented by the world-renowned Rountree Tryon Gallery and the legendary gunmakers John Rigby & Co. It is his association with Rigby that has led him to successfully showing his paintings at the Dallas Safari Club and at the Safari Club International in Nashville. These events have had a huge impact and demand for his work has steadily increased with clients from the US. Justin will be returning to the US this month to Atlanta and then Nashville with his latest collection inspired by his recent travels in Tanzania.

Black Death Friday

From the Dark Continent, something’s launching

Friday, 28 November 2025.

Something MORE for every subscriber to the African Hunting Gazette.

If you’re passionate about African hunting and want MORE, this how you can get it.

  • MORE quality content – Printed quarterly magazine, monthly digital magazine, weekly trophy pics, wall calendar, game animal poster

  • MORE taxidermy and trophy shipping value – Voucher for your next TTS (Taxidermy & Trophy Shipping)

  • MORE Meet and Greet, gun permit and accommodation value – complimentary nights at Afton Safari Lodge in Joburg or Cape Town

  • MORE tangible, real, valuable $$ benefits worth that can be redeemed NOW (or you can gift to a friend)

BLACK DEATH FRIDAY LAUNCH

Sign up as a subscriber (1, 2, 3 or 5 years) and be included in this all-inclusive Big Buffalo Safari. And remember, all existing subscribers are automatically in the DRAW. 

On top of your subscriber benefits this draw includes:

  • 7-day all-inclusive safari

  • Cape Buffalo trophy

  • Afton VIP (Meet & Greet, gun permit & accommodation)

  • TTS taxidermy shoulder mount + all export shipping costs to your country

 

AFRICAN FRONTIER SAFARIS is a Premier Outfitting/Outfitter Company, owned & operated by the Van Rooyen Family in Southern Africa. We offer exclusivity at all our privately owned lodges, where you will experience this first hand.

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