| |
|
As a youngster I was fascinated by wildlife. At some point I also became a
shutterbug. Perhaps it was inevitable that these separate addictions would finally merge
into one: wildlife photography. For those following a similar path, beware! If understanding
wildlife and striving to take better and better photographs are both challenges, then wildlife
photography is a challenge times a challenge.
|
|
|
At the end of a mud crawl |
To appreciate this I recommend a simple initiation.
Crawl ten yards through the mud, very slowly inching your way towards a skittish frog,
until you are within three feet of your subject. Wait until the sun comes out from behind
the cloud that has just appeared (where did that come from?) and then, in those few moments
when there is a perfect catch-light in the
prince's eye, get the frame-filling shot you are after. Finally, back up slowly through the
mud without disturbing the amphibian. The shot of the American Toad was obtained in this way.
So, you’re not allergic to mud. There are a few other wildlife photographer character traits
that I’ve found useful, the most important being luck. Most of my favorite wildlife shots have
been the result of a lucky encounter with some beautiful beast or beastie. Over the years
experience (a code word for lots of failures and some successes) has taught me how to get
lucky. If this sounds like fun, read on.
|
|
Tip 1: Take lots of hikes. If you want to get lucky,
it's best to give yourself plenty of chances. To learn
where the best local places are and understand the
opportunities they offer requires time in the field. The
more time the better.
Tip 2: When on
a hike, walk slowly and then slow down some more. If
you are in a hurry the chances are you will be seen
before you see, and then you won't see at all.
Tip 3: Start
early and finish late. Just after dawn is a great
time to take photographs. The light is warm in color,
and low in angle, giving lots of detail. There is more
wildlife visible and there are few, if any, people
around. The air is cool and the atmosphere is often
clear and still. Just before sunset is also good,
although there may be more people around, and the air
might not be quite as cool or calm. The Blue Heron photo
was taken half an hour after sunrise. The low angle
light enabled good detail to be recorded in the
feathers. This bird was not yet fully active, and I was
able to creep within a few feet of my subject, take a
bunch of shots, and then retreat without disturbing its
peace. |
|
Early and late, the
light is great |
|
|
|
|
Getting lucky with wildlife is good. Being able to
exploit the luck is even better. Every wildlife
encounter is a little different but usually, when the
chance arises, the first question I ask myself is:
What's this bug/bird/reptile/mammal going to do next?
Getting the answer right is the key to making the best
of the opportunity. If I think the subject is nervous,
the best strategy is often either to stand motionless
for a while or to slowly back off a couple of steps, and
then wait, hoping that confidence will be restored.
Waiting often works. On one lucky hike I spotted a leaf
drifting to the ground. However there was something not
quite right about this leaf. On getting close I
discovered the leaf was a large Chinese Praying Mantis,
which promptly flew to a nearby bush. I knew the mantis
was there, behind those leaves. The mantis knew I was
there, watching. It was a waiting game, and I was
playing against a pro. I waited. The mantis waited, but
I waited longer. After about 20 minutes the mantis
peaked out from behind the leaves. Slowly, very slowly,
I got the macro shot I was after. |
|
The waiting game |
|
|
Get close and go for
the eyes |
|
|
Tip 4: Get close and go for the eyes. To grab the
attention of the viewer it�s good if the subject fills a
large part of the frame. With wild animals this usually
requires getting as close as their comfort zone allows
and using a telephoto lens, preferably with a focal
length in the 400mm range. With bugs it means using a
macro lens. Getting close also means moving forward very
slowly, with frequent pauses to assess whether the
critter is getting nervous. Once you are close, go for
the eyes. If they are shut or hidden in shadow the shot
often loses its impact. Best is when there is a
catch-light in the eyes which makes the subject look
alive. To get the catch-light may require waiting for
the subject to look in the right direction, but it's
worth the wait. If there is no direct sunlight then
flash can do the trick. The Painted Turtle shot was
taken in fairly low light, but using flash created the
desired glint in the corner of the subject's eye.
Tip 5: Keep it clean. The simplest compositions are
often the most effective ones. I try to eliminate
anything that distracts the viewer from the subject. In
the caterpillar picture the narrow depth of field
obtained by using a large aperture has blurred the
background, removing extraneous detail that would
otherwise have taken attention away from the subject. A
narrow depth of field is easy to obtain when using a
macro lens, but the trick is to pay attention to the
background and try to choose a viewpoint that yields a
pleasant backdrop.
Tip 6: Capture
the action. Photographs of critters doing nothing
are OK. Photos of critters doing something are better,
particularly if the something illustrates the nature of
the beast, for example a Lion yawning. Sometimes the
action is fast, and you get just a couple of seconds to
get the shot. After all, wildlife is WILD ... be prepared
for anything! |
 |
|
Keep it clean |
 |
|
Capture the action |
|
|
Be prepared for
anything |
|
| Copyright
2005 by Steve Geer. All rights reserved. |
|
|