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Ian Griffiths is a Cornwall-based artist known for original wildlife art, bird paintings, and parrot paintings. His work sits alongside a second family collection on the same site: landscape paintings of Cornwall by his father, George Griffiths. If you are looking for original wildlife or bird artwork with a Cornwall connection, or you want to understand how the two Griffiths collections relate, this explains what is documented and how to approach the work.

What Ian Griffiths Paints

The site describes his output in three overlapping categories:

• Wildlife art — animal subjects treated as the main focus of the painting.
• Bird art — birds as subject matter, which is the most specific category named.
• Parrot paintings — a distinct, narrower group within the bird work.

The recurring thread is animal and bird subjects rather than pure landscape. That matters if you are comparing him with his father: the two bodies of work are grouped by subject, not just by family name.

Why Cornwall Appears in the Description

Cornwall functions here in two ways:

1. As the artist's location — the site presents him as a Cornwall artist, so the region is part of his identity as a working painter.
2. As subject matter for a different collection — the Cornwall landscape paintings on the site are attributed to his father, George Griffiths.

So "Cornwall" in the site's description is not a claim that Ian Griffiths paints Cornish landscapes. It signals where he works and whose landscape paintings share the same site.

Ian Griffiths and George Griffiths: How the Two Collections Differ

If your interest is birds or parrots, start with Ian Griffiths. If your interest is Cornish scenery, the relevant work is attributed to George Griffiths.

How to Browse or Acquire the Work

The site is the entry point for the collection. Because no pricing, checkout, or payment details are stated in the available material, treat the following as the reliable path rather than a purchase process:

• Open the site and look at the wildlife, bird, and parrot paintings as the Ian Griffiths group.
• Look separately at the Cornwall landscape paintings labelled as George Griffiths' work.
• For availability, price, or shipping of any original, contact the artist through the site rather than assuming an online checkout exists.

Common Points of Confusion

• Assuming all the art is by one person. The site covers two artists, father and son, with different subjects.
• Reading "Cornwall artist" as "paints Cornwall." For Ian Griffiths, the documented subjects are wildlife, birds, and parrots.
• Expecting prints or a shop by default. The material describes original paintings; it does not confirm a print range or a payment platform.

Quick Answer

Ian Griffiths is a Cornwall-based painter of original wildlife, bird, and parrot art. His father, George Griffiths, is the artist behind the Cornwall landscape paintings on the same site. To see or enquire about a specific original, go to the site and use its contact route, since no pricing or purchase details are given in the available information.

Nature photography is the practice of photographing the natural world—landscapes, plants, animals, weather, and natural textures—with the goal of representing those subjects faithfully or expressively. You can approach it with almost any camera, but the craft comes down to four decisions: what you include in the frame, how you handle light, when you press the shutter, and how much you disturb what you're photographing. This guide covers how nature photography relates to neighboring genres, what to shoot, how to set up, and where the ethical lines fall.

Nature photography vs. landscape, wildlife, and street photography

These labels overlap, and most photographers move between them. The useful distinction is what the photograph is about.

A close-up of frost on a leaf is nature photography but not landscape. A deer crossing a road in a city is arguably wildlife and street. The categories are a convenience for finding work and audiences, not a rulebook. If your subject is the natural world rather than people or built environments, "nature" is a fair label.

What to photograph

You don't need a rare subject. Common, repeatable subjects are how most people build skill:

• Landscapes and terrain — coastlines, hills, forests, deserts, fields.
• Plants and botanicals — leaves, bark, flowers, moss, fungi, seed heads.
• Animals — birds, insects, mammals, amphibians, and the traces they leave (tracks, nests, burrows).
• Weather and sky — fog, storms, snow, rain on surfaces, cloud formations.
• Natural textures and patterns — ripples, rock strata, ice, sand, reflections.

A useful exercise: pick one subject category and photograph it ten different ways in a single outing. That constraint forces you past the first obvious shot.

Gear and settings for outdoor shooting

You can start with a phone. The limits show up in reach (small, distant subjects) and in low light. If you're choosing a first dedicated setup, these are the practical trade-offs:

• Wide-angle lens (roughly 16–35mm equivalent) — landscapes, big skies, environmental context. Good for showing where something lives.
• Standard zoom (roughly 24–70mm) — the most flexible single lens; works for plants, textures, and mid-range scenes.
• Telephoto (roughly 100mm and up) — wildlife and distant detail. Reach matters more than aperture for most beginners, because you often can't get close.

Settings that solve common outdoor problems:

• Aperture priority is a reasonable default. Stop down to f/8–f/16 for landscapes where you want front-to-back sharpness; open up for a blurred background behind a plant or animal.
• Fast shutter speed for anything moving—birds, insects, wind-blown foliage. If your images are soft, shutter speed is the first thing to raise.
• Low ISO when light allows, to keep noise down. Raise it only when you can't get the shutter speed or aperture you need.
• Manual focus or single-point autofocus for small subjects, so the camera locks onto the leaf rather than the background.
• A tripod for low light, long exposures (water, clouds), and precise composition.

Light, composition, and timing

Light does more for a nature image than gear does.

• Shoot in the hours around sunrise and sunset. Low, angled light gives texture and color that harsh midday sun flattens.
• Overcast light is soft and even—excellent for plants, fungi, and detail work, where harsh shadows would hide the subject.
• Backlight (sun behind the subject) can rim leaves, seed heads, and animal fur, separating them from the background.
• After rain or fog, colors saturate and atmosphere adds depth.

For composition:

• Simplify. Move your feet and your camera angle until the background stops competing with the subject.
• Use a clear focal point. One leaf, one bird, one rock. The eye needs somewhere to land.
• Watch the edges of the frame for distracting twigs, litter, or bright patches.
• Include scale when it helps—a person, a known object, or a repeating pattern shows how large something is.

Timing is often the whole photograph: the moment a bird turns its head, the second the wind drops, the instant the light breaks through. Patience and returning to the same place repeatedly beat chasing new locations.

Ethics and field practice

How you make the photograph matters as much as the result.

• Keep your distance from wildlife. Use a longer lens rather than moving closer. If an animal changes its behavior because of you—stops feeding, moves away, becomes defensive—you're too close.
• Don't bait, lure, or handle animals to get a shot, and don't disturb nests, dens, or resting sites.
• Stay on trails where they exist, and avoid trampling plants, moss, or fragile ground for a better angle.
• Leave what you find. Don't pick flowers or move rocks and logs for composition.
• Follow local rules for protected areas, which may restrict drones, flash, access hours, or where you can stand.
• Be honest in editing. Adjusting exposure and color is normal; removing or adding elements and presenting the result as a documentary nature photograph is not.

A practical starting routine

1. Pick one location you can revisit easily.
2. Go at a time with good light—early or late, or on an overcast day.
3. Choose one subject category and one lens or focal length.
4. Take the obvious shot first, then push yourself to five more variations: different angle, height, distance, and light direction.
5. Review on a larger screen, note which choices worked, and return to the same spot under different conditions.

The photographers who improve fastest are usually the ones who return to the same places repeatedly and pay attention to light and timing, rather than the ones who collect the most locations.

安大略省南部可观察的野生动物大致分为七类：鸣禽、啄木鸟与地栖鸟、猛禽、水鸟与岸鸟、蝴蝶与昆虫、爬行动物与两栖动物、哺乳动物；自然景观方面则包括野花与其他植物，以及乡村与废弃建筑构成的景观。多伦多摄影师 Andre Denis 的网站 Nature & Wildlife Of Southern Ontario 按这些类别整理了影像记录，并保留从 2012 年至今的季度幻灯片，可作为了解该地区物种与栖息地的参考。网站说明，页面上的野生动物照片均拍摄于物种自身的栖息地，且绝大多数摄于加拿大安大略省南部。

按类别查看物种

网站导航把内容分成以下几组，方便按兴趣定位：

• Critters & Plants：综合性的生物与植物入口
• Songbirds：鸣禽
• Woodpeckers & Groundbirds：啄木鸟与地栖鸟
• Birds Of Prey/Raptors：猛禽
• Waterfowl & Shorebirds：水禽与岸鸟
• Butterflies & Insects：蝴蝶与昆虫
• Reptiles & Amphibians：爬行动物与两栖动物
• Mammals：哺乳动物
• Wildflowers & Other Flora：野花与其他植物
• Rustic & Abandoned Landscapes：乡村与废弃景观

如果你关心某一类动物在安大略省南部长什么样、出现在什么环境里，直接进入对应分类即可，不必逐页翻找。

按季节浏览幻灯片

网站把历年影像按季度做成幻灯片，最早可追溯到 2012 年，最新更新到 2026 年的冬、春、夏三季。已列出的时间范围包括：

部分早期幻灯片用具体日期标注区间，例如 "Jan. 2/17 - Mar.20/17" 或 "Sept. 3/16 - Dec. 31/16"，比单纯写季节更精确。想比较同一物种在不同季节的状态，或确认某个时间段当地有什么可看，按季度对照浏览最直接。

网站还包含什么

除安大略省南部的内容外，"more" 区域底部另有一些外地旅行的幻灯片，包括纽芬兰、南卡罗来纳、西弗吉尼亚与佐治亚、不列颠哥伦比亚，以及巴巴多斯。这些不属于安大略省南部记录，浏览时注意区分。

如何获取更新

网站首页提示：如果喜欢这些图片，可以在下方 Comments 区留下电子邮箱，作者会把订阅者加入一份季度邮件，用于通知下一次幻灯片上线。这是获取新内容的唯一方式，网站没有提供其他订阅入口或付费说明。

Southern Ontario supports a surprising range of mammals, from white-tailed deer and red foxes to beavers, muskrats, raccoons, skunks, groundhogs, squirrels, and bats. Most are secretive, so the practical approach is to match the species to its habitat, go out at dawn or dusk, and look for signs (tracks, scat, gnawed trees) as much as for the animals themselves. The notes below draw on the Southern Ontario wildlife photography collection at Nature & Wildlife Of Southern Ontario (andredenisimages.weebly.com), which documents local species in their own habitat, plus general field knowledge.

Common mammals by habitat

The site organizes its galleries by group (songbirds, raptors, waterfowl, reptiles and amphibians, mammals, wildflowers), which is a useful reminder that mammal watching overlaps heavily with birding routes—wetlands and forest edges reward both.

When to go

• Dawn and dusk are the most productive windows for deer, fox, coyote, beaver, and raccoon.
• Winter is the best season for tracking: snow preserves footprints, drag marks, and trails, making shy species like coyote, fox, and marten readable without ever seeing the animal.
• Spring brings young animals and more daytime activity, but also the highest risk of disturbing denning and nesting.
• Summer pushes many mammals nocturnal; focus on water at first and last light.

How to actually find them

1. Pick habitat, not a species list. Decide whether you are working a wetland, a woodlot, or a field edge, then expect the mammals that belong there.
2. Walk slowly and stop often. Most mammals detect movement and leave before you see them; standing still for several minutes often brings them back out.
3. Read the ground. Look for tracks in mud or snow, scat on logs and rocks, gnawed stumps (beaver, porcupine), and runs or tunnels through grass (voles, cottontails).
4. Use edges. The boundary between forest and field, or water and shore, concentrates activity.
5. Return to the same spot. Repeated visits to one location teach you individual animals' routines far better than covering new ground.

Observation and photography etiquette

• Keep a respectful distance and use a telephoto lens or binoculars rather than approaching.
• Never feed wildlife; it changes behavior and creates dependency and conflict.
• Do not disturb animals with young, and back off immediately if an animal reacts to you.
• Stay out of closed areas and respect private land and park rules.

The photographer behind Nature & Wildlife Of Southern Ontario states that all wildlife images are of species in their own habitat—a good standard to hold yourself to. If you want to follow the collection, the site notes that you can leave your email in its Comments section to receive a quarterly notice when a new slideshow goes online.

Recording what you find

• Note date, time, weather, and exact location for every sighting.
• Photograph tracks and scat alongside a scale (a coin or ruler) for later identification.
• Compare your finds against regional checklists and the seasonal slideshows on the site, which are organized by year and season and show what is actually being seen locally.

Quick answers

Are there large predators in Southern Ontario? Coyotes are widespread, including in cities; black bears occur mainly in the northern parts of the region and beyond. Encounters are uncommon but possible.

Can I see these animals without leaving the city? Yes—raccoons, skunks, squirrels, cottontails, and bats are common in Toronto and other urban areas, mostly after dark.

What is the single best sign to learn first? Tracks in snow or mud. They let you confirm species that you will almost never see directly.

Ian Griffiths is a Cornwall-based wildlife artist whose work centres on birds, parrots and other wildlife, shown alongside landscape paintings by his father, George Griff Griffiths, on the site mail1304.wixsite.com. The site presents the work as original paintings rather than prints or reproductions, and it is the place to browse the collections and make contact about a piece or a commission. If you are looking for a specific species, a parrot portrait, or a Cornish coastal scene, the practical route is the same: view the galleries, note the painting that fits, then get in touch directly.

What Ian Griffiths Paints

The subject matter falls into a few clear groups:

• Birds — the core of the collection, covering the bird life associated with Cornwall and beyond.
• Parrots — a distinct strand of the bird work, treated as individual portraits rather than generic studies.
• Wildlife — animals beyond birds, painted in the same observational style.
• Cornwall landscapes — coastal and countryside scenes, painted by his father George Griff Griffiths rather than by Ian.

The pairing matters. The site is effectively two bodies of work under one roof: Ian Griffiths' wildlife and bird paintings, and George Griff Griffiths' paintings of Cornwall. If a landscape is what you want, you are looking at the father's work; if it is a bird or a parrot, you are looking at the son's.

Original Paintings, Not Prints

The site describes the work as original wildlife, bird art and parrot paintings. That is a meaningful distinction when you are deciding what to look for:

On the evidence available, this is an original-art site. If you specifically need a print, an edition size, or a licensing arrangement, that is a question to raise when you make contact rather than something to assume from the gallery pages.

How Cornwall Shows Up in the Work

Cornwall is not just the artist's location — it shapes the subject matter. The county's coastline, moorland and estuary habitats support a particular range of bird life, and that is the bird life most likely to appear in the paintings. The landscape work by George Griff Griffiths makes the connection explicit, so the two collections read as a single Cornish body of work seen from two angles: the wildlife and the places it lives in.

If you want a piece that reads as "Cornwall" at a glance, a landscape is the direct answer. If you want Cornwall through its wildlife, a bird painting carries the same sense of place without the scenery.

How to Browse and Make Contact

1. Open the site at mail1304.wixsite.com and work through the galleries — expect the bird, parrot and wildlife paintings grouped separately from the Cornwall landscapes.
2. Identify what you want by subject: a specific species, a parrot portrait, a wildlife study, or a landscape.
3. Note the details of the piece that interests you — title, subject and any size or medium information shown alongside it.
4. Make contact through the site to ask about availability, price, shipping or a commission. Because the site does not publish pricing or payment details, treat every purchase question as one to ask directly.

Questions worth asking when you get in touch

• Is this specific painting still available?
• What are the dimensions and the medium?
• Does the price include framing or shipping, and where do you ship to?
• Do you take commissions, and if so, for which subjects — a particular bird, a parrot portrait, a wildlife piece?
• Can you supply an image at higher resolution before I decide?

Common Snags

• Assuming a price. No pricing signals appear on the site, so nothing should be read as free, fixed, or available at a listed figure. Ask.
• Mixing up the two artists. Bird and wildlife work is Ian Griffiths; Cornwall landscape work is George Griff Griffiths. Check which name sits with the painting you like.
• Expecting a shop checkout. This reads as a gallery-and-contact arrangement rather than an online store, so plan for a conversation rather than a cart.
• Looking for prints. The collection is described as original paintings. If you want a reproduction, that is a separate request.

The Short Version

Go to the site for original bird, parrot and wildlife paintings by Ian Griffiths and Cornwall landscapes by George Griff Griffiths. Browse by subject, note the piece you want, and contact the artist directly for availability, price, shipping and commissions — none of which are published on the site itself.