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.

ENTRIES CLOSE MARCH 15, 2026

The Most (?) Dangerous Game

A seriously annoyed bull elephant would be near the top of anyone’s list of dangerous game, but other candidates include insane big-game hunters on desert islands, wounded Cape buffalo, and jealous wives with rifles.  It all depends on the circumstances.  (This elephant is a big old Okavango boy who had reservations about photographers.)

By Terry Wieland

 

In 1924, Collier’s published one of the most famous short stories of all time.  “The Most Dangerous Game,” by Richard Connell, told of a man marooned on an island who finds himself pitted against a big-game hunter who pursues humans for sport.  Having become bored with hunting animals, he had turned to the “most dangerous” game for entertainment.

 

Connell’s plot has since been used for several movies, the theme has been adapted for television, and it has even inspired a few real-life crimes.

 

The idea that man is the most dangerous game is repeated frequently enough that it’s accepted as a truism.  But is it really true?  In some cases, certainly.  In others, frankly, a resounding no.  Really now, which is more dangerous:  an experienced man-eating tiger in its prime, loose in its own jungle, or a flabby, middle-aged, city-boy office clerk?

 

As with most things, it all depends on who is being hunted, and who is doing the hunting.  Ernest Hemingway quoted something similar but made the distinction about hunting armed men, and that certainly makes a difference.  Richard Connell’s villain gave his intended victim a knife and a head start, but carried a pistol and was himself accompanied by a hulking assistant and savage dogs, which rather tilts the odds.

 

One time, an ex-soldier who served in Vietnam told me he had little interest in hunting Cape buffalo because, having been in the jungle with an armed enemy, he expected he’d find it too easy.  He also believed this made him an authority on what rifle one should use for buffalo, elephant, and the like.

 

One factor he ignored was that a man in the jungle hunting a tiger, or in thick brush after Cape buffalo, has quite different aims than a soldier.  The essential difference is that a hunter needs to kill his prey, and if he only wounds it, must follow it up and complete the job.  This is where dangerous game becomes extremely dangerous.  The reverse is true with a soldier, for whom a disabling wound is more than adequate (and sometimes actually preferable).  Soldiers can ambush an enemy, inflict a few wounds, and make themselves scarce, rejoicing in a job well done.  The enemy is scattered, demoralized, weakened, and now burdened with wounded to care for.

 

Whether the game is Cape buffalo, elephant, hippos (which can be very dangerous), leopards, lions, or one of the big bears, the hunter needs to carry a rifle that will not only kill reliably, but also stop an enraged charge by an adrenalin-laced beast that often out-weighs him as much as a hundred to one.

 

There is no legal situation I know of, either military or civilian, in which a group of pursuers is sent out to hunt down and kill an armed man.  Even in the case of a serial killer or a madman, the goal is to capture alive if possible.  One should also add that it’s rare indeed to dispatch just one man to hunt down another.  From the old-west posse to the modern manhunt, the hunted is almost always outnumbered and outgunned by the hunters.

 

In the end, the hero of Connell’s story outwits, and eventually kills, the villain — disposing of his evil henchman, Ivan, and the savage dogs one by one.  According to one literary source, this is the most popular short story of all time, if not the greatest.  That title is usually awarded to Ernest Hemingway’s “The Short Happy Life of Francis Macomber,” which, incidentally, is also about hunting and hunters.

 

In that story, Margot Macomber proves to be the deadliest, shooting her husband in the head at his moment of triumph.  So there we have another candidate for the title “most dangerous.”  It all depends on who, what, when, and why.

Hyena Hunting in Kruger – A Once-in-a-Lifetime Experience

By Alessandro Cabella

 

Hunting near Hoedspruit, deep in the greater Kruger area of South Africa, offers something that few places on Earth can match: untamed wilderness, raw unpredictability, and adrenaline-charged encounters with some of the world’s most elusive predators. After landing in Johannesburg, I was greeted by my longtime friend and professional hunter, Ryan Beattie, owner of Dubula Hunting Safaris. We loaded the gear, packed the rifles, and began the drive northeast—leaving behind the highways and entering the African lowveld where baobabs tower, the mopani trees stretch wide, and the wild begins to speak. The road to Hoedspruit isn’t just a drive—it’s a slow descent into another world. A world where time slows down, senses sharpen, and the unknown always seems just one rustle away.

 

Camp, Bait, and the Stillness of the Bush 

Our arrival at camp was greeted with warm hospitality, cold drinks, and a sense of readiness. The staff knew why we were there. And more importantly, so did the land. The baits had already been hung. The trail cams had shown promising activity—leopard, hyena, even a large crocodile crossing near one of the waterholes. The night shift of Africa was active. We planned to hunt from a blind, positioned near a bait site where hyena activity had been frequent. Hunting hyena is not for everyone—it requires patience, nerves of steel, and often takes place under cover of darkness, when the bush becomes a theater of shadows. That first

Gear & Hunt Details

Rifle: .300 Winchester Magnum

Ammunition: 180-grain soft point

Optics: Night vision-compatible scope with IR assist

Outfitter: Dubula Hunting Safaris

PH: Ryan Beattie

Location: Hoedspruit, Greater Kruger, South Africa

Species: Spotted Hyena (Crocuta crocuta)

Distance of Shot: Approx. 85 yards

Time: 11:30 p.m.

Conditions: Moonlit, dry season, high predator activity

Trophy Status: Largest hyena harvested in recent years; full-body mount commissioned

Display: Trophy donated to Dubula Hunting Safaris Lodge for display and conservation education

night, we settled into the blind at dusk. The air was still and heavy, but the bush was anything but quiet. Movement was constant. A leopard moved silently near the bait—unseen, but heard. Later, the unmistakable glide of a crocodile slipping into the shallows. Every creak of the branches or crack of grass heightened the tension. We sat in near-total darkness, rifles ready, eyes scanning, hearts pounding. No shot was fired that night, but the experience was unforgettable. It was a reminder that in Africa, success isn’t always measured in trigger pulls—but in proximity to the untouchable.

 

The Night It All Came Together 

The second night was different. The air carried a strange electric stillness. Ryan and I climbed back into the blind just before nightfall. The bait was refreshed, and game trails were promising. Still, nothing in Africa is guaranteed—especially when it comes to predators. Hours passed in silence. Then, at 11:30 p.m., I caught subtle movement in the shadows near the waterhole. It wasn’t the silent glide of a leopard this time—it was the low, slinking movement of a clan of hyenas, drawn by the scent of impala. Their arrival was fast and focused. These were no scavengers simply passing through—they were hunting, and they knew exactly what they wanted. In the darkness, with only the dim light of the moon and infrared assistance, I steadied my rifle — my trusted .300 Winchester Magnum. The moment came fast. A large hyena stepped into the clearing, eyes scanning, powerful jaws visible even in the low light. I had only a fraction of a second to act. Breathing steady, rifle locked in place, I squeezed the trigger. The sound cracked across the night air—and in an instant, it was done. The hyena dropped, clean and final. All around, the bush held its breath.

 

Predators in the Dark 

But the night was far from over. Just as the adrenaline from the shot began to subside, we heard the low growl of a leopard, still nearby. The crocodile had not moved far either. The hyenas that remained scattered into the brush, but the predators that had been watching never left. We sat in silence, processing what had just happened. Not just the shot—but the presence of three apex predators, all within yards of one another. This was pure Africa—not staged, not arranged, not controlled. Just raw nature, as it has always been. The moment was humbling. Not just for the trophy I had earned, but for the environment I had shared it with. Few hunters will ever take a shot under the eyes of a leopard and crocodile.

A Trophy Worthy of Legacy 

The following day, I received news that made the hunt even more extraordinary. I was informed—no later than yesterday—that the hyena I had harvested was the largest taken in the region in years, a true outlier in both size and age. A rare, once-in-a-generation trophy. Out of respect for such a remarkable animal, I made the decision to have it mounted in full body, so that its presence—and the story of this hunt—can be preserved in a way that honors it.

The mount has been donated to Ryan Beattie and Dubula Hunting Safaris, where it will be displayed at the lodge for all hunters to see. Not as a boast—but as a tribute to the bush, the animal, and the powerful connection that ethical hunting can create.

 

Final Thoughts 

 

Some hunts you remember. Others become part of who you are. This was one of those hunts. A powerful, unpredictable, deeply humbling experience—now immortalized not just in memory, but in legacy. Unforgettable.

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