Elephant breaking a tree, Serengeti National Park, Tanzania.

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“Get close” and “Fill the frame” are two of the most commonly heard pieces of advise in wildlife photography.  While helpful for the beginner, who often tries to include too much in each picture, this advise results many missed photographic opportunities.

Here are three reasons wildlife photographers should consider including the habitat in their images.

  1. As the image’s creator, I know exactly where and when an image was made.  The viewer does not have that advantage.  Including habitat helps to give the viewer a sense of place.  Without visual cues, the viewer is left to wonder about the context of the scene.  Providing the environment can help to provide some of that context.
  2. After a while, closeup images start to look the same.  Expressions can vary, but a lion is a lion, and that sameness makes it difficult for your images to stand out from the crowd.  Including the habitat helps to make images unique and therefore stand out from the competition.
  3. Habitat tells a story.  Take the image above.  Most of us have seen an elephant, in photographs, movies, or zoos.  We know about their enormous size.  We know about the adaptability of their trunk.  We even know that they like to live in herds.  What most people don’t know is that elephants are responsible for the transformation of ecosystems.  African elephants are what is known as a keystone species.  This means that they have a pronounced impact on the environment in which they live.  How do they impact the environment?  Simple, they knock down trees.  Through deliberate action or accidental destruction, elephants bend, snap, and break trees.  Over time, this destruction transforms forests into savannas.  Without elephants, a large portion of the African savanna would no longer exist.  By including the interaction between an elephant and a tree (guess who usually wins), the photograph takes on a story telling quality that a closeup shot of the elephant can’t capture.

Animalscapes (habitat shots that include wildlife) are difficult to create.  There is so much more to include that the visual focus of the image can be compromised.  Despite the challenges, animalscapes offer a unique opportunity to document the stories about how wildlife interacts with its environment.

The image was taken using a Canon 1D mark 4, 500 mm IS lens, at 400 ISO.  The image was taken from a vehicle using a beanbag for support.

Written on October 28th, 2010 , Africa, Animal Behavior, Photography Information, Tanzania

Two male lions fighting over a female lion.

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I recently learned that one of my images (shown above) placed in the 2010 NANPA Showcase competition.  It as a tier 3 winner, meaning it was one of the top 250 images entered in the competition.  3,046 images were entered this year and I am happy to have one of my images place.

I also found out that my spotted hyena cub picture will be appearing in an upcoming issue of National Wildlife as part of their promotion for their caption contest.

Written on October 26th, 2010 , Africa, Animal Behavior, Announcements, News and Notes, Tanzania

4 young cheetahs sitting together on a small hill, Serengeti National Park, Tanzania.

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Sometimes we miss opportunities.  Two years ago in the Serengeti, I photographed this family of cheetah after an unsuccessful zebra hunt.  The four cubs didn’t understand that they had no hope of taking down a zebra.  So they spent some time chasing the herd as their mother looked on in what must have been exasperation.  When it became obvious that the zebra had no plans to cooperate, the cubs gathered together to catch their breath.  The diagonal line of the hill created a nice composition and I captured a few frames before all hell broke loose.  It turns out that while everyone in our vehicle was watching the cubs, mom decided to show them how it was done.  Less then 100 yards directly in front of our car, she took down a reedbuck when it walked into the open.  Well, at least I got a picture of the cubs.

Male impala chasing young male away, Serengeti National Park, Tanzania.

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Impala are herd animals, and their mating behavior being closely tied to the herd structure.  Herds consist of numerous females (sometimes up to 40) and a single, large male.  This male wins control of the harem through a series of ongoing fights against all comers.  During his reign, he protects the female from danger.  The benefit?  Total access to sexually receptive females.  In wildlife biology, exclusive access to females is the ultimate measure of success.  Of course, there is a cost to be paid.  The ruling male must continue to take on all challenges.  Every day, young males approach the females, attempting to lure them away.  The harem male, in turn, gives chased, only to repeat the process when the next male arrives.  Over time the chases take their toll and the male grows weak.  After a few months, even the largest males can no longer maintain the energy needed to constantly defend the herd from challengers and is defeated.  At that point, a new harem male arises and the cycle repeats.

The image was captured using a Canon 1D mark 4, 500mm IS lens with a 1.4 teleconverter attached, at 200 ISO.  The image was shot from a vehicle and a beanbag was used for support.  The image shows a harem male chasing a younger male across the grasslands after the young male got a little too close to the herd.

Written on October 8th, 2010 , Africa, Animal Behavior, Image of the Day, Tanzania

Young elephant sitting on his brother's head while playing, Serengeti National Park, Tanzania.

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In yesterday’s post “Elephant Entertainment” I mentioned how much I enjoy photographing elephants.  The above image is one of my favorites and clearly shows the humor exhibited by elephants.  It began as a typical day in the Serengeti as we followed a large herd of elephants.  After about an hour, the herd began to move towards a waterhole and we all grew excited.  As predicted, the elephants began to drink and the action started.  Young elephants chased each other through the grass as adults waded and splashing in the water.  As the excitement died down, one juvenile (maybe 8-10 years old) decided to lie down and rest.  This caused one of his younger siblings to cautiously approach, evaluate the situation, and then respond in that time honored tradition of all younger siblings.  He sat on his brother’s head!  Imagine the laughter as the older elephant struggled to get up and imagine the chase that followed!  The whole experience reminded me of past interactions between my own two children.

This story brings me to the point of today’s post: anthropomorphism.  Anthropomorphism is defined as the “attribution of human motivation, characteristics, or behavior to inanimate objects, animals, or natural phenomena.”  As a wildlife researcher (in my previous life), the idea of anthropomorphism was always viewed with suspicion.  It was not suppose to be done.  The assumption that animals share the same motivations, emotions, or desires as humans was frowned upon by scientists for fear that those assumption would not only turn out to be untrue, but would in fact distract us from discovering the truth.  The danger of applying anthropomorphism to wildlife behavior was shown repeatedly.  Ever seen a chimpanzee smile?  Does he do it because he is happy?  Humans smile when we are happy, so it is a logical assumption that chimpanzees do to.  Unfortunately that assumption would be wrong.  What we call a smile is a chimpanzee’s way of showing fear.  Imaging the typical chimpanzee’s reaction to hundreds of smiling school children as they visit the zoo.  Can you say terror?

So what does this have to do with photography?  Simple, photography is not science.  The goal of science is to answer questions in an unbiased manner.  The goal of photography is to share the vision and message of the photographer.  Yet, on a number of occasions I have listened to photographers talk about the evils of anthropomorphism as if the same restrictions should be applied.  Lets be real here, there is nothing unbiased about photography.  Each image we take contains our world view, preconceptions, and dreams.  Trying to remove those things from the image results in boring images.  In wildlife photography, we want the viewer to fall in love with the subject.  We want them to share the awe, the laughter, and the sadness we experienced while out capturing images.  To do this, photographers need to use anthropomorphism to our advantage.  Use emotions, beliefs, and assumptions to make a connection with the viewer.  If an animal looks like it is exhibiting a human emotion, celebrate.  We are not scientists.  We are photographers and in that context, anthropomorphism is OK.

Adult female elephant playing with a stick, Tarangire National Park, Tanzania.

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Elephants are one of my favorite animals to photograph.  Not only are they charismatic, but they exhibit a constant desire to explore their surroundings.  As humans, we tend to explore our environment with our hands.  Elephants, not having hands, have had to come up with another option.  Their solution: the trunk.  An elephant’s trunk is made up of 40,000 different muscles and can be used for impressive feats of strength (knocking over a tree) or gentle motions (picking up an egg without cracking the shell).  The trunk is also the primary way elephants interact with and explore their environment.  Using the trunk, an elephant can lift items of interest for closer inspection, move items into their mouths for an exploratory taste, or conduct simple manipulations to see what happens.  Of greatest interest to me is that fact that elephants also use their trunks to play.

The image above shows an adult female elephant holding a stick.  On numerous occasions I have watched elephants pick up and play with sticks.  Why?  What do they possibly gain through this behavior?  Mimicking my three year old son, I have watched elephants swing sticks around, bang them against nearby objects, and walk around as if holding a security blanket.  In the captured on film, this matriarch put one end of the stick in her mouth and sat resting her head for a few minutes.  Perhaps, after years of searching, she accomplished the greatest dream of all long distance travelers: she finally found the perfect walking stick.

The image was captured using a Canon 1Ds mark 3, a 120-300mm Sigma lens with 1.4 teleconverter attached (shot at around 310mm), at 400 ISO.  The elephant was photographed from a vehicle with a beanbag used to support the lens.

Written on September 20th, 2010 , Africa, Animal Behavior, Image of the Day, Tanzania

Brown (grizzly) bear closeup, Katmai National Park, Alaska.

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The most dramatic wildlife images often involve getting close to the subject, but how exactly do you do that?  In today’s world, wildlife survives by moving away from threats, and humans are generally considered threats.  So what is a wildlife photographer to do?  Simple, learn how to approach wildlife.

Imagine that you are relaxing on a park bench one morning while drinking a cup of coffee.  Suddenly, across the park you see a big guy stare intently at you.  Without a pause, he begins to move towards you.  As you watch, he jumps behind a tree, only to continue moving forward as soon as you take your eyes off him.  How would this make you feel?  I think I would be up and running in the opposite direction before he came out from behind the first tree.  This is not someone I want to meet!

The above situation sounds a little far fetched, but it is exactly how most photographers try to approach wildlife.  I still remember one day (years ago) when my dad decided to “help” me get pictures of some birds.  We were out fishing on his boat and I happened to have my camera with me.  I noticed some Great Blue Herons wading in the water and made some comment about wanting to get a picture.  Next thing I knew, my dad had revved the engines and was driving full speed directly towards the birds yelling,”Take the picture!  Take the picture!”!  If memory serves, I did.  They showed two or three Great Blue Herons flying away from me with looks of terror on their faces.  No exactly the images I was after.

When you approach wildlife, think about it from the animal’s perspective.  Prey species live day to day with the knowledge that other animals want to eat them.  They survive by being highly sensitive of their surroundings.  Nothing is going to set off their alarm bells more then a direct stare.  That is something predators do.  So is moving directly towards them.  If you want to get close, you do not want to look like a predator.  The same concept applies when approaching predators.  Most predators see a direct stare as a challenge.  That challenge will be answered in one of two ways, fight (careful, they probably have bigger teeth) of flight (so much for getting close).  Neither option is going to get you close enough to create good images.

So, how should you approach them?  By far the best way is to sit down and wait for them to come to you.  Watch them movement patterns and predict where they are going.  Wouldn’t it be great if that always worked?  There will be times, however, when you need to make the approach.  In that situation, I like to use some techniques I learned many years ago from Joe McDonald, an outstanding wildlife photographer who was kind enough to share his knowledge.  The idea is to make yourself look like just another animal out looking for food.  This can be accomplished by doing four things.

  • Avoid direct eye contact.  As we already discussed, this puts animals on edge and makes getting close extremely difficult.  Instead, watch the animal out of the corner of your eye.
  • Don’t move directly towards them.  Watch how prey species walk.  They don’t move in a straight line.  They don’t have a set destination because they don’t know where the food is.  They move from bush to bush, often changing directions after each search.  You need to appear to do the same thing.  I know it can be agonizing to delay the approach, but moving sideways in a series of diagonal lines will get you much closer then the direct method.
  • Take your time.  Don’t walk with an obvious purpose.  Every few steps, stop and pause before moving.  If, at any time during your approach, your subject starts to get nervous (as in look directly at you in more then a passing manner), stop moving.  Wait until he goes back to what he was doing and then wait at least 30 more seconds.  Also, don’t forget to not stare while you are waiting.  Again, you are mimicing the behavior of an herbivore, and wildlife is not scared of other herbivores.
  • Get low if you can.  Predator are often large animal and decreasing your apparent size helps to separate you from them.

While they don’t work every time, practicing these four tips will go a long way towards helping you get closer to wildlife.

The above image was created in Katmai National Park, Alaska using a Canon 1D mark 2, 500mm IS lens with a 1.4 teleconverter, at 800 ISO.  The camera was mounted on a tripod with a Wimberly tripod head.  I was able to get this close to the bear because I let him approach me.  By quietly sitting along the edge of a river during the salmon run, I let the bear set the pace oft he approach and to adjust to my presence without appearing to be a threat (trust me, you do not want a 1000+ pound bear thinking you are a threat).  Over the course of an hour, the bear moved to within 20 feet of my position, and continued fishing for salmon directly in front of me.  When he was finished, we both walked away, him with a full belly and me with some great images.

Written on July 19th, 2010 , Animal Behavior, Understanding Photography Series

Female elephant drinking and splashing water in a river.

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Patience is one of the most important qualities for good wildlife photography.  Patience is not just required because it takes time to locate wildlife, but because the best pictures are rarely made in the first few moments.  Good wildlife images require a considerable amount of time.

The above image was captured after almost two hours of waiting.  In the northern Serengeti, we watched a larger herd of elephant approach a river.  They appeared to be looking for a good place to cross.  Being on the opposite bank, we followed them as they moved through the dense brush along the shoreline.  It wasn’t until an hour had passed that we got our first real photo opportunity, and that consisted of a female freaking out when she realized there were some really ugly primates hanging out at the far shore (that would be us).  That photo-op lasted a good 3 seconds.  After her initial scare, the entire herd remained in the bushes for another 45 minutes as they tried to figure out if it was safe to come out.  It wasn’t until a mother got fed up with the situation and braved the river with her young calf.  After this first successful crossing, the others decided it was safe and slowly began to cross.

It was at this point that the real photography started.  Everything leading up to this was preparation for the big event.  Of course a good river crossing picture should be more then an elephant standing in the water.  Unbeknownst to many people, elephants do not drink water through their trunk.  Instead, they suck water into the trunk and the spray it into their mouth.  This can lead to great images when an elephant decided to get a little silly and “play with its food.”  This female was obviously hot and needed  a drink (hiding in the bushes for almost an hour will do that), but she decided to have a little fun.  Rather then just drinking, she would spray the water into her mouth at full blast, sending water in every direction.  The result was a great photographic opportunity that took two full hours to develop.

So, what is the point?  Almost anything can be turned into a good photography, but not at any given moment.  Next time you come across  an interesting subject, give yourself the time to watch events unfold and have your finger on the shutter button.  You never know what will happen.

Image was created using a Canon 1D mark 4, 500mm lens, at ISO 200.  The image was captured from a vehicle with the lens supported on a beanbag.

Two male lions fighting over a female lion.

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While it is certainly possible to walk around and luck out with a great photo opportunity, the best images are usually the result of knowledge and planning.  The shot above was taken in Ngorongoro Crater, Tanzania and shows two male lions fighting over a female.  Without a knowledge of animal behavior, it is unlikely that I would have been able to capture this image.

During our drive around the crater, we came across a group of four lions, two females and two males.  As usual, the lions were pursuing their favorite activity, sleep (they sleep over 20 hours a day).  When we arrived, the two females were resting at the top of a hill and the males were down near the water’s edge.  After getting the standard images of sleeping lions (there is only so much you can do with a sleeping cat), we decided that the best photo opportunity was going to be down by the water.  This decision was based on a few considerations.  First, it was a warm day and it seemed likely that the females would eventually come down to drink.  Second, even if the females stayed on the hill, male lions are visually more impressive and usually make better photo subjects.  Third, there was the hope that the females would want to interact with the males.

We positioned ourselves with a good view of the males and it wasn’t long before the first female got up and started to move in our direction.  Lions are social animals and often interact with each other.  Interactions are particularly likely when a new lion approaches.  As the female approached, we got ready to record the interaction between her and the males.  Unfortunately, the action was brief and anticlimactic.  The female walked over to the first male (the second male never even looked up), sniffed him once, and then lay down.  Ah well, so much for planning.

It wasn’t until the second female arrived that the action started.  Once again we were prepared as the female approached, but this time was different.  As the first male approached her, the female rushed right past him and headed directly for the second male (who was still sleeping and not aware of what was about to happen).  Needless to say, the first, and obviously alpha, male did not like the situation.  As the female  reached the sleeping male, the alpha male jumped between them and snarled.  This got the desired response with the second male jumping to his feet and rapidly moving in the other direction.  In the image above you can see the female’s snarl as she expresses her opinion of the events.

Knowledge of your subjects greatly improves your chances of creating powerful images.  Is it possible that we would have captured some of the action without predicting the behavior?  Yes.  It is unlikely, however, that we would have been in such a good location (there were 10 other vehicles jockeying for position) or that we would have captured the entire sequence as it unfolded.  Also, there is something profoundly satisfying about pre-visualizing an image and then watching it present itself before your eyes.

So, what what about you?  Have you ever predicted an event before it happened and used that knowledge to set up the shot?  If so, share your story.

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Through the lens with Chris Gamel

Musings of a photographic educator.