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Ivan Mikolji

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Ivan Mikolji IVAN MIKOLJI FISHES of the ORINOCO in the WILD 8 The Author 10 Acknowledgments 12 Foreword Actinopterygii 14 Preface 38 Beloniformes 224 Siluriformes 16 Introduction 40 Belonidae 226 Callichthyidae 20 The Orinoco 42 Characiformes 238 Doradidae Loricariidae 44 Acestrorhynchidae 242 Trichomycteridae 52 Anostomidae 274 70 Bryconidae 276 Cyprinodontiformes 78 Chalceidae 278 Poeciliidae 80 Characidae 282 Rivulidae 134 Crenuchidae 286 Cichliformes 148 Ctenoluciidae 288 Cichlidae 152 Curimatidae 372 156 Cynodontidae Perciformes 374 Polycentridae 158 Erythrinidae 166 Gasteropelecidae 376 Synbranchiformes 168 Hemiodontidae 378 Synbranchidae 174 Iguanodectidae 178 Lebiasinidae Elasmobranchii 194 Parodontidae 380 Myliobatiformes 198 Prochilodontidae 382 Potamotrygonidae 200 Serrasalmidae 386 Species List in Alphabetical Order 388 Abbreviations 390 Glossary 9 The Author With more than a hundred expeditions and innumerable publications in different countries, Ivan Mikolji has demonstrated the authenticity and originality of his artistic passion for photography and painting. The philosophy that moves his creative will is the urgency to preserve the aquatic ecosystems of the planet, and as a first step he considers it necessary to make the richness and beauty Ivan Mikolji 9459 - June, 2015 of these biomes known. That is why he maintains: “you Carabobo, Venezuela (Venezuelan cannot preserve something that you don’t know exists.” Caribbean Mountain Range) And to that work, he has dedicated a large part of his life. Sony SLT-A99V, Sony A 100mm f/2.8 Macro Lens, Sony HVL-F58AM Flash Ivan Mikolji 170 - November, 2007 f/2.8, 1/125, ISO 50, 0 e.v. Image by: Oliver Lucanus Latitude: 10°11’50.04”N Eduardo Planchart Licea PhD Caño de Rosa, Apure, Venezuela (Flooded Savannas) Longitude: 67°59’57.38”W Latin American Art History UNAM Canon EOS-1Ds Mark II, Canon EF 20mm F2.8L Lens, Seacam 1Ds housing with Superdome f/8, 1/250, ISO 400, 0 e.v. Latitude: 7°12’39.70”N Longitude: 67°40’50.29”W 11 Acknowledgments Scientific revision Thank you FishBase for your valuable support by providing us Donald C. Taphorn B. with the distribution data of most species, which makes this book incredibly more interesting. Species identification Fish: Donald C. Taphorn B., Antonio Machado - Allison, Carlos Lasso Alcalá, Oscar Lasso Alcalá, Carlos DoNascimiento, Wolfgang Staeck, Frank Magallanes, Lina Mesa Salazar Plants: Francisco Delascio Chitty, Sixto Rodríguez Coordinator: Yelka Mikolji Image curator: Eduardo Planchart Licea Editorial design and Layout: Joshua Pickett Editor: Mary Janet Mikolji Froese, R. and D. Pauly. Editors. 2019. FishBase. World Wide Web electronic publication. fishbase.org, version (12/2019). Sub editor: Jeremy Gay The FishBase logo is a trademark of Froese, R. and D. Pauly. Editors. Proofreader: Max Pedley Map: Carlos E González R. Special thanks to: Carlos Lasso Alcalá, Alipio Mendoza, Maria Thank you Christopher Scharpf of The ETYFish Project for your Amier, Oliver Lucanus, Kenia Sandoval, Frans Vermeulen, Rafael support by providing us with the fish-name etymologies that make Amier, Alfredo Amier, Monica Morales, Alfredo Perez, Juanita this book much more amenable. Andrade, George Fear, Jorge E. García-Melo, Emiliano Rujano, Giorgi Khizanishvili, Fernando Chan, Thomas Manns, Ofenie Kasupi, Marco Pigozzo, Oscar Pietri, Alberto Blanco Dávila, Marc Weiss, Eugenio Mikolji and to all of you that are not on this The ETYFish Project list but helped me in our adventures. Fish Name Etymology Database © Christopher Scharpf and Species names and dates cross reference: Kenneth J. Lazara Caño el Pozo 3597 - January, 2014 Thank you Carlos DoNascimiento for creating and www.etyfish.org Amazonas, Venezuela (Western Guiana Shield) Sony SLT-A99V, Sony A 16-35mm f/2.8 ZA SSM Vario-Sonnar T* maintaining the list of all freshwater species present in Lens, Ewa-Marine U-B 100 Underwater Housing Venezuelan continental waters at the Ictiovenezuela website. f/2.8, 1/200, ISO 200, -0.5 e.v. ictiovenezuela.blogspot.com/ Latitude: 3°59'14.30"N Longitude: 67°38'19.75"W Monocirrhus polyacanthus 237 - June, 2008 Caño El Pozo, Amazonas, Venezuela (Western Guiana Shield) Sony DSC-H50, Aquapac SLR Case f/4, 1/250, ISO 100, 0 e.v. Latitude: 3°59’14.30”N Longitude: 67°38’19.75”W Foreword It was a photo, that was how I first met Ivan. I’d written formal nature of many aquatic works. Furthermore, he a piece on Monocirrhus polyacanthus, and a search has broken the cycle of regurgitation that can plague through Google images had tossed up the best shot some writers as they copy each other’s words, topping I’d ever seen of one; a sublime fish lurking in marginal and tailing sentences of long-unchallenged folklore and grasses, three Cardinal Tetras in the foreground, wild passing it along as their own. and raw. I still look at that picture. When Ivan writes about a fish, he knows about that fish. It wasn’t long before Ivan and I began a working relation- Not from collecting it or buying it, keeping it in a tank and ship. It started with technically difficult and precise photos, noting some behaviours. Ivan is immersive, in the truest photos that require patience, dedication, and more than a sense. If gonzo journalism can be applied to the lives of little understanding of fish behaviour. Photos that require fishes, then that is what he does. He visits them, first as an the one essential element that cannot be taught; the eye intruder, but then a guest. He swims with them, integrates for a perfect composition. In a sea of a billion images himself into their lives, becomes a part of their everyday that could be clones of each other in their style, Ivan’s habitat. This is his world, and it welcomes him. captures make up a bounteous island, rich in originality. Over the following pages, you will see what Ivan has It was a photo, but it became words. When I first asked seen, see fish behaving as fish behave. You will see fish Ivan to write for me, it was with trepidation. Here was a in their wilderness homes, away from artificial lighting and Venezuelan conservationist being asked to cater to an the constraints of glass walls. You will read observations English audience. The first submission came through as borne out of diligence and obsession. You will feel the the work of a gifted wordsmith; evocative and moving, flow of the Orinoco over your body, feel the leaf litter intelligent and insightful. I tidied up some punctuation underfoot, feel the tetras nipping at your skin. Through and left it as untouched as possible. We evolved our this book, Ivan takes us into the field with him. relationship from editor and contributor to a professional friendship. It led to a long chain of barely tweaked features, It was a photo, and now there’s a whole each more magnificent than the last. book of them. We are truly blessed. Fishes of the Orinoco in the Wild is a book for the aficio- nado, but without stuffiness or pomp. Ivan’s accessible, matter-of-fact writing is a welcome departure from the Nathan Hill, August 2020 15 Ivan Mikolji 8566 - August, 2013 Image taken by: Kenia Sandoval Caño Picantonal, Amazonas, Venezuela (Western Preface Guiana Shield) Sony NEX-7, Sony E 18-55mm f/3.5-5.6 OSS Lens f/10, 1/160, ISO100, -0.3 e.v., Built-in flash: On Latitude: 5°44’28.23”N Longitude: 67°31’54.81”W The intention of this book is to show the rich ichthyo-di- Most of the images in the book were taken in Shutter Priority versity of the Orinoco River basin. I am a believer that mode which is the underwater camera setting I use most of the education, knowledge, and empathy towards nature is one time, even today. My first images were all taken in Auto mode of the best ways to ensure the preservation of all species because I never took photography lessons, but I tested and ex- as well as mankind. The images in this book have been perimented with the camera for years until I found a setting that carefully taken, curated, and presented to create a visual worked for me. There are a few images that have flash lighting, continuity, to inspire the readers to go outside and doc- mostly from the beginning of my career, but due to the fact that ument the ecosystems closest to their homes and in that my underwater cases do not allow me to use an external flash, way awaken a strong feeling of belonging across the globe. I have not used flash in years. This became an advantage as people started recognizing my work because it had a “natural I included the best images I have taken of each species, many look,” and it became my personal signature. Some images of them from the start of my underwater documenting journey include underwater rainbows or spectrums, created when which began with video in 2006 and then with photography sunlight is bent by the water’s surface movement. This natural in late 2007. Most of the images were not book worthy until phenomenon adds a lot of color to the underwater world. the beginning of 2008. The images are all taken in the wild, throughout Venezuela and Colombia. None of the fish were I hope you enjoy this book as much as I enjoyed creating it. captured and placed or relocated to take the pictures. Setups A lot of attention to detail, passion, and perseverance were and backgrounds were not used either. Also, all the images placed into every shot as I strive to make each one a work of art. were taken using lung power, snorkeling that is, with mask and snorkel, lead belt, and sometimes with a wetsuit and fins.
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