Photos of the Combat des Reines in the Turtmanntal
Discover the timeless allure of the combat des reines in the secluded Turtmanntal through evocative black and white photography. Explore its history, cultural significance, and why monochrome was my deliberate choice to capture these majestic bovine duels.
Nestled high in the Swiss Alps, the Turtmanntal valley is one of Switzerland’s best‑kept secrets—closed off to traffic in winter, home only to a single family‑run hotel, and connected by a humble minibus linking Oberems to Senntum. Here, each spring brings an age‑old spectacle: the combat des reines, or “queen fights,” where cows from the Val d’Hérens breed test strength and hierarchy.
What Is the Combat des Reines?
Originating in the Valais region centuries ago, the combat des reines pits cows against one another in friendly yet fiercely contested bouts. Rather than mere entertainment, these contests determine the natural pecking order of the herd—ensuring that only the strongest queens lead each pasture. Unlike conventional bullfights, there is no human involvement; the animals lock horns and gently but firmly push until one yields.
A History Rooted in Alpine Tradition
First documented in the 15th century, these contests were used by herders to manage breeding stock and preserve the hardiest traits of the Valais breed. By the 19th century, neighboring hamlets turned these informal skirmishes into seasonal celebrations. Today, the combative gatherings remain tightly woven into regional identity, attracting photographers, agritourists and locals.
Cultural Significance in the Turtmanntal
The Turtmanntal combats stand apart for their intimate scale. With no grandstands or commercial fanfare, spectators perch on alpine meadows under open skies. The surrounding pines and granite ridges form a natural amphitheater—an authentic reminder that nature still reigns supreme here. For local families, these fights reaffirm communal bonds and herald the end of winter’s isolation. As with almost any event in the Valais, even in this relatively remote area there is no shortage of wine and cheese to sustain the crowds during a relatively long day.
Why Black and White Photography?
After reviewing my shots, I felt the combat des reines was portrayed best in monochrome. Here’s why I chose black and white photography for this story:
Timeless Atmosphere: Stripping away color returns us to the valley’s storied past—where medieval herders first watched their queens duke it out.
Textural Emphasis: The deep black hide of the cows is emphasised in black and white and the green of the fields and surrounding forests tended to distract from the scene. Switching to black and white draws the attention more towards the subjects in the frame: the cows and their herders, who are always standing nearby ready to intervene if a third cow decides it wants a piece of the action while two others are duelling.
Personal Reflections on the Turtmanntal
I try to visit the Turtmanntal at least once a year, but even that is not easy. The road into the valley usually opens only in late May, then closes again some time in October. I’ve hiked up to the Turtmannhütte, circled back to the Hollenstein chapel with its fantastic views back down the valley, done an early-morning hike up to the Meidsee, visited the sheep protection dogs with a breeder and now seen a natural “combat des reines”, where locals parked all along the side of the narrow road, even though there is a grass car park only a few hundred metres away (a nice quiet spot for motorhomes and, with clear skies and a new moon, a fantastic spot for stargazing).
Tips for Photographing the Combat des Reines
Arrive Early for Light: My advice for any shoot. Getting there early gets you the best light but also the best parking spots and a chance to scout the location.
Use a Fast Prime Lens or a telephoto: I shot with a 24-70 but a 70-200 or a fixed telephoto would let you get in close (the arena is closed off) and give you amazing shots. The cows dig out holes in the field, which throws up clouds of soil on a dry day, adding an extra touch of drama to your shot.
Capture the Details: From mud‑caked horns to dust rising with each shove, get low or zoom tight to spotlight the grit of the ritual. Try to include the colourful characters of the herders and spectators.
Tripod not necessary: I always have my tripod with me but on this occasion it was more of a hindrance than a help. I even shot handheld on my Mamiya RB67.
Embrace the Monochrome Moment
Beyond mere documentation, my black and white portfolio of the combat des reines invites viewers to witness an alpine tradition in its purest form. No color can replicate the elemental power, the textural richness, or the fleeting sparks of dust and muscle that define these bovine duels.
Whether you’re a culture seeker, an agritourist, or a fellow black and white photography enthusiast, the Turtmanntal’s queen fights offer an unforgettable blend of history, community, and raw natural beauty. Plan to visit between late spring and early summer, pack a sturdy tripod, and prepare to be transported—back in time and deep into the soul of Switzerland’s hidden valleys.
Useful tips
Check the Alpe Rötigen Facebook Page to find out when it’s happening.
Take public transport if you can - it will save you a lot of time compared with driving all the way up from Turtmann to Oberems
Don’t forget to stop by the farm shop to take home some cheese!
The story behind the shot - Hotel Belvedere at night
The story behind my night photo of the Hotel Belvedere with light trails on the Furka pass road. This is a popular photo location on Switzerland’s Grand Tour due to its being right on the road up to the Furkapass and opposite the car park when you can access the ice tunnel under the Rhone glacier. At night and out of season, however, the place can be deserted, giving your creativity for night shots free reign.
The Hotel Belvedere is a must-see photo opportunity for any trip on Switzerland’s Grand Tour, but it can be difficult to photograph due to the proximity of the road, the traffic and - depending on the time of year - the tourists stopping to photograph the hotel and visit the nearby ice grotto inside the Rhone glacier.
Yes it’s an Instagram magnet and yes it’s probably been shot thousands of times from every angle. But that was a great reason to head up there just to see if I could do something different. So, on a cold late autumn night, I headed down from the Grimselpass after the golden hour failed to materialise and then up the Furkapass road to the unmistakable hairpin bend that is dominated by the long-abandoned Belvedere Hotel.
A cold autumn night is actually one of the best times to photograph this hotel. Night falls early and nobody is around (there was just a German-registered motorhome on the car park when I arrived). If you’re using a wide-angle lens, you can stand right by the side of the road opposite the Hotel Belvedere and frame your shot low. But there is a risk that the lights from the car park behind you might cast a shadow in front and spoil your composition.
The shot I had in mind was a straight on shot with the camera low to the ground (something like this) but the light from the car park was indeed a problem, casting a shadow of me right in the middle of the shot. Nevertheless, with some tripod adjustment and some careful cropping, I managed to get a decent shot of the Hotel Belvedere against the backdrop of a cloudless starry sky.
Attempt no. 1: Straight on, low down, nice starry sky in the background.
Having just posted the photo in here and looked at it again, it doesn’t look too bad. The noise reduction in Lightroom might be a bit much and you can see the reflection of the light from the carpark on the front door and the first floor boarded-up windows (although this does make it look a bit like there is a light on in a bedroom).
By this time I had had a few chances to work on settings to get the light trails right. I could see and hear the cars coming from a long way away, which gave me plenty of time to prepare. After a few attempts where either the ISO or shutter speed were too high, blowing out the highlights, I got it more or less right.
Then I changed my position to the left-hand side of the hotel. I knew I wouldn’t get any leading lines, as the road moves up and away from the hotel, but the 14mm lens could get all of the side of the hotel in and all of the road sweeping around. Unfortunately, I had a lot less warning about traffic coming down the hill, so an unexpected late-night postbus caught me by surprise.
Attempt no. 2: The postbus passing. Blown out highlights on the left, impossible to vertically align and a halo above the Hotel Belvedere (corrected here slightly).
It’s not the first time I’ve tried to get light trails from a bus on a hairpin bend, but it’s not an easy shot. The two layers of light trails can be nice, but the bus is travelling slower than other traffic and its bigger headlights can blow out the higlights. My tripod was quite low to the ground so that accentuates this and the framing of the shot at this point meant that it’s impossible to correct the vertical alignment without losing the light trails on the left.
But, after some tweaking and the time to prepare for a car coming up the hill, I managed to get something at least a little less formulaic. This more unusual shot of the Hotel Belvedere allowed me to capture the full length of the hotel and the full hairpin bend of the road, meaning that the light trails transition nicely from the headlights to the tail lights.
Attempt no. 3: The full hotel and the full hairpin bend visible (cropped as a square shot).
I find that nightscapes work well on aluminium dibond. This photograph of the Hotel Belvedere at night with light trails is available in a range of sizes in my shop.