Should I try wildlife photography?

Fat City. Boulder, Colorado, 2013

Go for it!

Me? Mostly I don’t go there. Or at least I don’t generally show my work in public when I do. It is extremely difficult to create an image that is significantly different or better than what others have already done. (For some humbling inspiration, check out the images on Joel Sartore’s or Weldon Lee’s websites.)

If you are out in the wilderness at all, though, it is very difficult to avoid at least attempting to capture birds, animals, insects, even fish(!) doing what they do out in the wild. If you are going to give it a try, here are some basic recommendations:

Wildlife Photography Tips, A Baker’s Dozen

–Don’t just go for the close-up portraits, try environmental portraits as well–images that depict something of the critter’s natural surroundings. (As in my attempt above.) This is an especially good tip if you don’t have many long dong lenses in your arsenal. (As is my case.)

–Try to capture an unusual angle, lighting, or behavior–something not seen before. Your photographs have to be unusual to catch the viewer’s attention.

–Avoid distracting elements in the background or around the edges of your image. Using a wide aperture (a low f-stop number, like f/2.8) is a common technique to blur the background to isolate the subject. Pay as much attention to your background and edges as you do the subject itself.

–Try to shoot from an angle that will give you catchlights in the eyes. (Some say a Better Beamer flash extender can be helpful for both fill light and creating catchlights, but others consider this kind of lighting unethical.)

–Make sure the eyes are in tack sharp focus–unless you have other artistic goals.

–Try to keep some detail in the areas with dark fur or feathers. The same goes for white fur and white feathers. Nail your exposure or bracket. (See Cal Whitehall’s book cover image of two white ptarmigans in snow HERE, for an example.)

–When that eagle pounces on the screaming prairie dog or when that GRIZZ munches down on the hapless salmon, try shooting multiple shots at your camera’s highest rate–burst mode–to ensure you catch the action you want in at least one of the frames. Digital memory is cheap.

–Sometimes an overcast day can work well for photographing wildlife–it reduces contrast and shadows and allows you to capture good detail across the dynamic range. Also, colors can appear more saturated.

–Before approaching wildlife, press the button on a few frames so at least you have something…then slowly move closer. Try moving forward via an indirect line. Move slowly. Avoid long duration eye contact. If it is a potentially dangerous beast, give it room to retreat and make sure your retreat avenue is open. And don’t get too close–wild animals can hurt you! (Yes, even a beaver.) Be safe. Listen to those Park rangers!

–As an amplification of the previous point, don’t be so agressive with your photography that you disrupt the natural behavior of your subject. You don’t want them burning extra energy unnecessarily, or not tending to their babies when they should, or having to move their den or nest, etc. Be aware of and sensitive to their needs for survival.

–Unfortunately, depending on your style of wildlife photography, expensive equipment may eventually be required to make the images you want. Big lenses cost big bucks. (Take a goosey gander at this lens, for example. Yours, for a mere 18 grand.)

–Shoot from a tripod to keep things sharp, but keep the ballhead loose enough to follow the action.

–Finally, you’ll need lots and lots and lots of patience, patience, patience…to wait for that perfect pose by your chosen beasty subject. Be prepared to sit and wait A LOT in all kinds of weather and on all sorts of uncomfortable butt buckets! (Unless you can lure your animals into a studio like Brad Wilson did, of course.)

Good luck and have fun! (I’ll stick to fat robins, myself.)