The world of wildlife photography transcends mere snapshots; it's a tapestry of tales, emotions, and enduring legacies. Each frame pulsates with the heartbeat of its creator, encapsulating their fervor, commitment, and profound love for the untamed wilderness. Today, my heart is heavy as I reflect upon the untimely departure of Carson Hughes, an extraordinary young luminary in the realm of wildlife photography.
Carson was not just a photographer; he was a visionary storyteller. Through his lens, he painted vibrant tapestries of the natural world, immortalizing the raw splendor and untamed essence of its inhabitants. His photographs transcended mere visuals; they served as portals to his soul, echoing his profound respect for nature and steadfast dedication to conservation. Tragically, Carson's journey was cut short while he was immersed in his greatest passion, capturing wildlife in its natural habitat.
Though I never had the privilege of meeting or engaging with Carson on social media, I am deeply moved by the indomitable spirit of this young man, who at the tender age of 18, had already forged a clear path and unwavering commitment to his craft. In tribute to his remarkable work, I choose not to replicate his images here, respecting the sanctity of his copyright. Instead, I urge you to explore and appreciate his artistry firsthand on his Instagram page.
Reflecting on Carson's journey, I was deeply touched by a poignant post on his Instagram, where he expressed a wish to converse with his 13-year-old self, engrossed in video games, and reveal the breathtaking photographs he would one day capture. His self-awareness, foresight, and introspective reflections at such a young age were indeed rare gifts.
As I mourn the loss of such a promising talent, I am reminded of the limitless potential that young photographers infuse into our community. Their fresh perspectives, innovative methodologies, and infectious enthusiasm rejuvenate an art form that thrives on evolution and dynamism.
In honor of Carson Hughes, let us come together as a compassionate and supportive community. As a veteran photographer I feel the dual responsibility: to nurture this next generation and to glean wisdom from their unique vantage points, so I am committing to the following and I hope you will too.
As I gaze into the future, my heart is filled with hope, gratitude, and an unwavering belief in the transformative power of photography to heal, inspire, and unite us all. In memory of Carson Hughes, let us come together as a community, bound by love, empathy, and a shared passion for wildlife photography, and continue to create art that touches hearts, ignites imaginations, and changes lives.. May Carson's indomitable spirit and passion for wildlife photography continue to ripple through time, inspiring countless souls to follow their dreams and leave their own indelible mark on the world.
With heartfelt warmth and profound respect,
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In the heart of the forest, a mystical entity roams—a ghost of the forest. I find myself captivated navigating its realm in silence, its piercing gaze and enigmatic demeanor weaving a spell of enchantment. To witness this majestic creature is to be transcended to another world, a realm of shadows and mystique, spellbinding and enchanting all at once.
The great gray owl possesses an aura that commands reverence. When it allowed me into its presence, I felt as though I'd been granted passage to a sacred space, humbled by the privilege of sharing a moment in time with this elusive being. No other species beckons me with the same allure, drawing me into the mysterious tapestry of the night.
Upon encountering the great gray owl, I felt scrutinized by its gaze, as if being judged by an ancient arbiter of the forest. Yet, in its aloof manner, it may choose to either ignore me, fixating on the sounds of its unseen prey beneath the grass or snow, or gracefully glide into the trees, disappearing like a phantom into the depths of the forest. The owl's gaze, once captured, became an irresistible force, making me reluctant to look away, yearning to prolong the ethereal encounter.
The power of the great gray owl lies in its ephemeral nature. I've taken thousands of photos, regardless of obstructed branches or challenging lighting, every moment with these mesmerizing phantoms is a fleeting gift. You never know when the next encounter will come, and taking your eyes off them even for a moment could mean they vanish into the night, unseen in their passing, leaving only the memory of their silent flight.
Throughout the year, in every season, my search for these elusive creatures becomes a daily ritual. The great gray owl is a transient spirit, except during its nesting season. As summer, fall, and early winter unfolded, their presence becomes unpredictable, with the possibility of a daily sighting or months of silence. The owls are silent nomads until the mating season, where they return year after year to the same territory with the same mate, remaining from February until the owlets spread their wings and venture into the world, a spectacle that may unfold as early as May when they parents may choose to leave or linger until July.
In the dance between light and shadow, I found myself lost in the gaze of the great gray owl, perpetually yearning for more—a continuous quest in search of whispers in the shadows, but a place I yearn to be.
]]>My camera ever at the ready is resting on my knees as I sit and watch. I flip out the viewfinder so as to not move my gear and by chance startle the moose and take a few photos of her. Eventually, she moves back into the forest. Songbirds that have not yet started their migratory journey break the silence every now and then with a short chorus. The squirrels become active as the warmth of the sun starts to melt the early morning frost.
As I reflect on the incredible journey that 2023 has been for my photography business, I am filled with immense gratitude for each one of you who played a part, big or small, in the successes we achieved together.
This year has been a tapestry of wonderful experiences—meeting exceptional clients and fellow photographers, capturing award-winning photos, exploring new landscapes, and contributing significantly to conservation efforts in Canada. Your support has been the driving force behind my ability to continue doing what I love and advocating for the incredible stories of the Boreal Forest wildlife.
One of the highlights of this year was the opportunity to share my passion for photography through teaching. Being a teacher by nature and profession, it was immensely rewarding to work with both new and returning clients, witnessing their growth and even seeing some of them achieve local and national recognition. Empowering others to experience wildlife in new ways and share their stories has been a fulfilling endeavor that contributes to the growing awareness of wildlife conservation.
Traveling to various locations, from familiar spots in Alberta to the breathtaking landscapes of Brazil, provided not only stunning photographic opportunities but also valuable connections with fellow photographers. Despite my preference for solitude in the field, engaging with others has been a source of inspiration and fresh ideas.
The journey to Brazil was particularly eye-opening, offering a firsthand view of the heartbreaking consequences of rainforest deforestation. This experience heightened my commitment to conservation, reinforced by the positive impact wildlife can have on restoring ecosystems. As we traveled the Pantanal I learned that numerous ranchers were starting to reforest significant areas of their properties to encourage wildlife to return. Ranchers are learning there is more money in tourism than cattle.so many ranches are being turned into ecotourist resorts and natural habitats restored. This gave me hope for the rainforest and wildlife in Brazil. What I witnessed in Brazil was outlined in a show I recently watched called Jaguarland which talked about the significance of the jaguar once hunted in Brazil and now protected, in increasing tourism to 1M visitors annually to the Pantanal and how the jaguar is changing the economy and protecting the diversity of the region.
In the realm of photo contests, this year marked a pinnacle in my career. I saw success in either being shortlisted to the finals, being a finalist, winning an award or winning the contest in every contest I entered except one. Highlights included being a finalist in the portfolio category of Nature Photographer of the Year and in Travel Photographer of the Year (winners to be announced in January), having a Top 100 image in North American Nature Photography Association and winning the Grand Prize in Nature Canada’s Photo Contest. The recognition gained through awards and publications not only boosts my credibility as a wildlife photographer but also extends the reach of conservation messages. Donating my works to various nonprofits, participating in campaigns like "Crossing Paths" (https://www.theccpc.ca/crossing-paths) with my work in the Canadian Conservation Photographers Collective and contributing directly to conservation organizations have been endeavors I take immense pride in.
The realization of my long-held goals, of a winning major photo contests with a great gray owl image and being published in Canadian Geographic were achieved this year. My Nature Canada win and upcoming publication in the special edition Best Wildlife Photography 2023 saw these goals met. My professional goals were further exceeded with a publication in BBC Earth Wildlife Magazine and BBC Earth acquiring rights to publish digitally another one of my images. I truly believe this is a testament to my cumulative efforts of the past years.
As I count down my top 10 favorite images of 2023 on my Facebook page and Instagram account, I find myself reminiscing about memorable encounters with porcupines in the snow, capturing the essence of a red fox family, achieving my best snowy owl photo to date, and experiencing the awe-inspiring presence of jaguars in Brazil.
Looking ahead to 2024, I am excited for new photo opportunities, meeting more incredible individuals, and continuing to contribute to wildlife conservation through my work. Your ongoing support fuels my passion, and I am truly grateful for the community that surrounds and uplifts me on this journey.
]]>Today, I find myself grappling with a story that intertwines the pursuit of livelihood with the undeniable consequences it bears on our delicate ecosystems. As a wildlife photographer who has spent countless hours capturing the beauty of the Boreal Forest in Northern Alberta, I witnessed with a heavy heart but also an understanding of the reasons, a recent development in my area. In the heart of the Boreal Forest, close to my home, a quarter section of land a once important habitat area has undergone a significant transformation. The dense thicket of trees and the large willow patch that used to be a haven for local moose and countless deer, a family of coyotes, and a variety of majestic birds of prey has been cleared to make way for agricultural purposes.
Coming from a family of farmers, I understand why the land was cultivated, one’s livelihood hinges on maximizing the land for crop production or pasture for livestock. I am sure the decision wasn't made lightly, and it reflects the ever-present challenges faced by those who rely on the land for sustenance and survival. The pressing need for agricultural expansion in the face of a growing population is a reality that cannot be ignored.
However, the consequences of this development are stark and impossible to overlook. The moose, once frequent visitors to the large willow patch, now find themselves searching for alternative habitats especially with the onset of winter and their once reliable food source now gone. The family of coyotes, whose den provided a safe haven for raising their young, is now displaced. The hawks and owls, which graced the skies above the forest as they hunted for prey, must now adapt to the changes in their hunting grounds. And let us not forget the countless smaller mammals, weasels, squirrels and voles who would have scrambled to get out of the way of the bulldozer as it plowed through the small spaces within this forested area that has been the only home they have ever known.
This made me reflect on a timeless struggle – the delicate balance between human progress and the preservation of our natural world. It prompted me to reflect on the choices we make and the impact they have on the biodiversity that makes our planet so rich and vibrant. As a wildlife photographer, I find myself saddened by the heart-wrenching scenes of displacement and loss of these animals I have watched grow and flourish on this land. I wonder what they felt when they came back to this spot and encountered it so radically changed. How did it impact their daily struggle for survival, how will they adapt? I will watch now this evolving landscape, capturing the new life that will undoubtedly emerge from the freshly tilled soil and be reminded of the lingering echoes of what once was. I will look to find that coyote family, the moose, and the hawks when they return and see where they go and how they adjust to the changes.
It is my hope that sharing this story prompts us to think about sustainable practices, responsible land management, and the importance of finding common ground that benefits both humans and the creatures we share this planet with. I do not begrudge the farmer, but I hope we can use our knowledge as a society and all our technological advances to minimize our disruption to the delicate balance of the ecosystems we inhabit. We must navigate the complexities of progress and preservation, seeking solutions that harmonize the needs of all species, human and wildlife alike that call the Boreal Forest home if we are to preserve this last great forest on Earth. Together, there is no other way forward.
]]>While it may seem unusual that I am writing about the pros and cons of phototours despite leading one to Alaska next year, I believe it's an important topic. People opt for phototours for various reasons:
Consider multiple factors before deciding whether to do a phototour. It's important to understand your motivation for going on a tour. Is it for one of the reasons mentioned above or something else entirely? Clarifying this is the first step. For example if you are wanting to get an award winning photo and take a tour led by a biologist you may not get that winning shot. While the biologist will understand the species and its behaviour they may not understand light, backgrounds and other factors that can make a photo. On my recent phototour to The Pantanal, the tour was arranged by someone else, but I choose to go because I was going with a group of experienced photographers, some who I had traveled with before. Our guide was a biologist and he was incredibly knowledgeable about a variety of species in the area, but getting us in positions for the best light, background etc. was not a focus nor was it for our boat driver. The driver was always trying to get us a close as he could to the species which for some folks is great but for me at times did not give me the angle, background or opportunity to get that great shot. Determining your goals for a phototour is essential in finding the most suitable option.
Next is to consider whether you desire photography coaching or mentoring on location. If so, choose a photographer-led tour but its important to have knowledge about the tour's photographer leader. Some photographers are taking their own photos in the field and you are simply in the field with them where you can observe what they are doing but they usually do not provide any direct coaching while shooting. Usually these photographers do have robust conversations after the day and debrief with their clients in the evenings and critique work. Others are rarely behind their cameras and talk about settings, positioning, habitat inclusion while in the field with their clients. Consider which style is best suited to your goals.
Also consider the experience level of the people on the tour with you. A few years ago I went on a phototour with a well known wildlife photographer. The photographers on the tour were supposed to be experienced one of the criteria for the trip but there was one individual who literally showed up with their new Canon R5 still in the box, did not bring any memory cards and had no idea how to use the camera. The tour leader had to spend so much time with the one individual the rest of us on the tour did not get any benefit of their expertise in the field as this one person monopolized all of their time.
Consider your tour goals and how they align with the type of tour you choose. Additionally, understand the pros and cons of phototours to determine if they are suitable for you. I will start with the cons
The pros:
My advice know your own style, how you like to work in the field, where you are flexible and where you are inflexible,, understand what you hope to accomplish on a tour and decide if a tour is right for you.
]]>Usually as a wildlife photographer you plan your outings with a certain species in mind. Where you are going and at what time is all carefully planned around maximizing the opportunities to encounter that one or perhaps two particular subjects in the field. Then somewhere along the way of getting to your intended spot or while you are waiting an entirely different species you are not expecting appears and even better yet at times it is not one you usually encounter. At this moment you need to pivot. You may not have the right lens or be in the right position to truly capture that unexpected encounter at its best, but this is where your skills as a wildlife photographer can make the most of the new situation. As a wildlife photographer, you need to think on your feet and respond quickly to make a photo with what you have in that moment. This is where knowing your gear, understanding your camera settings, and having researched species in that area to be able to predict their movements becomes so important. This is when your skills as a wildlife photographer are truly measured.
Recently I was out looking for a cow and calf moose that had been in the area. It was early morning when the moose was more likely to be out and I was searching a few fields and meadows. In my area red-tailed hawks are very skittish, they take off usually hundreds of meters away from where you are when heading in their direction. Compounding the issue of getting a decent photo of a hawk was the information I had received from local biologists that red-tailed hawk numbers had been hugely impacted by the avian influenzae the previous year and very few had returned to the region. So I am surmising by now that you as the reader are thinking I came across a red-tailed hawk. Well not quite, I am across a hawk and I was totally surprised when this hawk just stayed perched really unaffected by my presence in his space. My unexpected encounter was with a broad-winged hawk and it was totally not camera-shy.
In this unexpected moment I had to adjust in the field, how do I situate myself to optimize this opportunity, what settings did I need, where do I position myself, and how do I ensure I do not scare the hawk away? While it was perched it could take flight at any time and I needed to ensure my shutter speed was set for both opportunities, the portrait on the perch and the moment it took to the air. You do not have time to sit and think you need to make these adjustments in seconds as you do not know how long the encounter will last If you are fumbling with your camera settings because you have not yet built muscle memories and looking for the correct dial to adjust the ISO or the aperture or worse yet unsure what settings to use you are going to miss the opportunity.
Adapting to those unexpected encounters is what a good wildlife photographer needs to do. You need to be ready, you need to think quickly on your feet and you need to have the muscle memory to instantly change settings without thinking about how to do it or what they need to be. That all comes with countless hours of practice in the field. It is why I cannot stress enough to my clients that getting out right where you live and practicing on whatever you see whether that be a bird, a squirrel, or your own pets for that matter is so important. Readiness does not happen by luck it happens from putting in the time to make you ready. But if you are ready you can maximize those encounters and maybe just maybe get some incredible and even award-winning shots.
]]>Having entered my fair share a wildlife photography contests I can attest it can really be a roller coaster of emotions. You just never know what image will do well and what won't. You are emotionally invested in your work, you remember how you got that one special photo, the work it took, the time and maybe the travel and when that special photo is not recognized in a contest it sometimes leads you to second-guess your abilities as a photographer. Like any other art form judging is highly subjective; some judges focus on the technical aspects of the photo while other judges focus more on the artistry and yet others on the uniqueness of the moment. As an entrant in a contest how do you know what will do well? That is the million-dollar question. Unfortunately, I do not have the answer for you, but I will share with you my observations and opinions.
What I believe is contests want to put forward photos that have not been seen before. By that I do not mean the exact same image winning more than one contest but if a bear pouncing on a salmon just won a major contest the likelihood that a bear pouncing on salmon is going to win another major International contest in the near future or that same contest in subsequent years is highly improbable. So first look to see what images have recently won in major contests. Secondly realize that the judges see hundreds of bear photos and foxes and eagles and owls, lots of great photos, strong technically and visually pleasing but remember they see hundreds if not thousands of these photos. A fox pouncing on its prey is probably not going to be enough to win a contest as there are lots of images of foxes pouncing on its prey even though the photographer may have spent numerous hours in the field getting that photo. They want something that is going to stand apart from other contests and something that stands out from the entries they are reviewing. That has often meant exotic species have done well in contests as there are not as many photos of a snow leopard as there are a moose. Having said that though, this past year I am noticing a lot more common and accessible species doing well in contests and I have theory as to why. Exotic animals in difficult locations that takes thousands of dollars to get to and photograph, or only obtainable by camera traps winning awards continually actually discourages entrants and is not attracting the average person to wildlife photography. It gives the impression that wildlife photography is too hard, the wildlife is too inaccessible and the costs too expensive. It makes people feel it is out of their reach including myself at times. So my theory is by having images of more commonly seen and accessible animals do well in contests, it makes the average person feel more confident that they too can have success as a photographer. And please do not get me wrong, I am by no means knocking those great images of more common species. I truly believe some great photos have been overlooked because the subject is real common species like a squirrel or a goose. So I am happy if this is indeed happening as I believe a great photo should have equal opportunity to win regardless of the subject. Maybe I am being altruistic but It does seem to me that any species can have the opportunity to win now in some contests, but it still does need to a unique shot.
I have definitely had my ups and downs in contests. I have been closed out of contests and shook my head at what won, I see images that place, and I think I have an image almost exactly like that and would never have though to enter that image. The reality is It’s tough to even guess sometimes which are the best photos to put into a contest. The European wildlife photography contests, which includes big contests like Wildlife Photographer of the Year and Nature Photographer of the Year tend to favor more artistic shots however, when you get into the North American contests there seems to be a focus more on technical skills, clean backgrounds, and unique behaviours such as interactions between different species or interspecies fighting. You do need to know the judges and understand the type of photos that are best to enter into each contest based on previous winners and judges' preferences. Each judge is also going to have a preference for a certain species, and where artistry ranks in comparison to technical skills, and where light ranks in comparison to behaviour. My advice take the time to study the judges' own work to better understand their style and to gain some insight into their image preference. Even if you can parse that out, there are thousands of images entered in most contests and sometimes great images just gets missed. The judges quickly go through pages and pages of images, and realize they initially are only looking at thumbnails and its easy to miss a good image as a thumbnail. So not just your photo needs to be awesome but so does how it looks as a thumbnail.
I have photos that have placed in the top 250 or top 100 in one contest and then be totally shut out in other contests using the exact same photo. I’ve had photos that I put in as a filler because you get 20 entries for your entry fee and that photos is really just an afterthought and that photo does well, yet a photo you really believe in and feel it is one of your best ever does nothing. You just never know.
Lastly I think you need to really understand why are you entering the contest. Ask yourself that question and really think about the answer. Is it just your competitive nature, or do you need the validation that your work is good, or are you hoping that a contest win will launch your photography career? I know why I enter contests. I have a business as a wildlife photographer and part of that involves teaching other photographers how to improve their skills. It immensely helps my credentials to have success in contests. It builds my credibility and that is my primary reason for entering photo contests. It really is about giving people the confidence to invest in me as a mentor and coach for them. I also understand its not about boosting my print sales which are another part of my business.
Print sales are not really dependent on whether I won a photo contest or not, but they are really dependent on what a buyer connects with, what strikes them in a moment. Like all art each of us sees something different that moves us and for 95% of the population it doesn’t matter if the work is by Picasso or the painter down the road (unless you are an art collector) you love what you love. Most people are purchasing works that moves them and that they connect with on some emotional level. Its a piece that speaks to them the moment they see it and it is usually a spur of the moment purchase, they see something they like it and they may go confer with someone because it is a big investment but they are back with a few minutes and they are buying it. It’s not likely they will come back or week or a month later to be the work, nor are they going to spend a lot of time researching my background to see what contests I have won, they buy it because it connects with them.
So my advice to avoid becoming discouraged in the photo contest world, first understand why you are entering a photo contests, what’s your purpose? Once you understand this then decide whether winning a contest is going to serve that purpose and if it does then you are on to the next step Take the time to study what types of images do well in that contest, what the judges' style is like and find images that are going to mesh with those observations. Lastly understand just because your images do not do well in the first or the thirtieth contest doesn't mean you don't have great photos. You need to believe in yourself and in your work, you need to build resiliency Just because your work is not recognized in a photo contest does not mean that your skills aren’t great, it doesn’t mean that your work is not print worthy, and it doesn’t mean that your work is not publishable. Once you understand that you just need to continue to have faith in the photos you really believe in. Don’t get discouraged. As the saying goes "the master has failed more times than the beginner has even tried". You may need to fail many times before you have success but continue to believe.
]]>I recently finalized a photography tour to Alaska for next July which if you know me is quite the departure. I have never been one for traveling lots for photography. I have a ton of wildlife right here in my own backyard, the Boreal Forest plus my frequent trips to Jasper allow me to see and photograph grizzlies, bighorn and elk which I don't see in my region. My work focuses on telling the story of the wildlife of the Boreal Forest so I do not frequently travel globally to take photos of other species.
Two years ago I went to Alaska, it was a very last minute decision. I was frustrated with some events that had happened in my life. Those events made me take stock of where I was in my life and that is when I made the commitment to seriously invest in my growth as a photographer. In what seemed like serendipity a well known wildlife photographer who I admired was leading a tour to Lake Clark and had a last minute opening. On the spur of the moment I replied to the email saying I wanted in and three weeks later I was on a flight to Alaska. I had seen bears all my life but they were frequently skittish, in terrible places to get good photos and usually with their heads down in grass or berries. So I was totally unprepared for Alaska. Here the bears were out in the open, no trees in front of them, in open meadows or along the shore or stream banks fishing. They really could care less about the people and you could stand 50 feet away from them with a bear guide with no issues. That closeness makes you really feel like you are in their world, there is an intimacy to it. Although I love the wildlife where I live I have been yearning to get back to Alaska to photograph bears ever since, the experience is like no other!
On that trip with me to Alaska was a gentleman that was a guide in Katmai National Park near Kodiak. We got to chatting and he talked about what it was like to photograph bears in Katmai. I was so intrigued with the idea and was very grateful when he invited me to come anytime to Kodiak to see the bears in Katmai. Last year I started talking seriously about doing a photography tour in Katmai with my friend as our guide. For those of you that follow my work you may know I did a podcast at the start of this year with Jenny Wong on the challenges of being a female wildlife photographer; believe it or not there is intimidation, bullying and harassment in this work even today. Wildlife photography is still a very male dominated field and sometimes as a female there are times you just do not feel safe in the field and it is not due to the wildlife. I know other female photographers who carry pepper spray and even knives with them. I have heard women myself included referred to in very derogatory terms in the field by male photographers and frequently male photographers will not make room for a female to get good shots and even deliberately try to block them out. Having said that though I have experienced and have had the privilege to work with some amazing male photographers, excellent men that I love to work with, are ambassadors for the profession and supportive of female wildlife photographers.
In thinking about getting back to the bears in Alaska and what a tour might look like to Katmai, I knew I wanted to do something different, something that was meaningful. This is when I started thinking about leading a tour for women by women, to provide a space where women could feel free to ask the questions they want to ask, to have the space they want in field, the time they want to spend in the field and get the positions they want in the field to get great shots. I wanted the women I lead on a tour to get assistance and guidance from a female photographer who has had some success and who knows what it takes to make a shot. I wanted them to know that there is space for women in this field and that other women are ready to help, mentor and guide them. I was fortunate to connect with Jennifer Hadley a very accomplished and award winning photograph who was totally on the same page and wanted to work with female photographers in the field too.
Through many zoom calls, emails and texts the trip came together. We were bold and we were daring, we decided we were not just going to fly into Katmai each day and photograph bears but we were going to stay there. Camp in the wild with the bears and provide an extraordinary experience that many women might not be comfortable doing with male counterparts; for 5 days in the backcountry, no internet, no access to the rest of the world, just us and the bears and our guide. After all the planning we waited for the camping permissions to approved by the parks service in Alaska and finally it was complete. We had everything arranged and booked and we were ready to announce to the world our tour. Jennifer and I were both nervous and excited and thankfully the response for the most part has been truly wonderful and supportive. In less than 24 hours we had 6 of the 8 spots booked with great participants, who were enthusiastic and excited about the trip and the unique opportunity.
Those bears oh yes those bears, to get back to them in Alaska, in a majestic space and share that experience with other female photographers for their first time or their fifth time is something I am so looking forward to and know it will be an experience of a lifetime. One trip on the spur of the moment two years ago, that time in the wilderness, those gorgeous bears who let me experience their world Lake Clark and the people I was with on that tour have all played a part in leading me down this path to today. To work with two extraordinary people in planning this trip and the privilege to be trusted by a great group of ladies who have put their faith in me and Jennifer for this experience is a gift. There are bears but then there are bears and the bears in Alaska I have to thank on sending me on this special journey.
]]>I recently was asked by shotkit.com to write a feature for them on what is in my kit. Before I shared with their thousands of readers I thought I would share with you my dedicated followers what is in my camera bag. About 3 years ago I switched from Pentax to Canon. Yes I was a Pentax hold out having shot Pentax for over 30 years. I did have their 450mm lens and numerous other lenses and had the K1 and K3 camera body models but I was simply unable to get the crisp sharp photos I was seeing other wildlife photographers produce and my camera was not as fast in the field.
So I made the switch to the Canon R5. It was tough and I will still contend to probably my last breathe that nothing beats Pentax's color! But I am a Canon user now and I love the fast fps of the R5 and the eye focus, as well as it being full frame. For wildlife photography its an excellent camera.
In terms of lenses I started with Sigma 150-600mm contemporary lens simply for its reasonable cost and the reach it has. I also purchased the Canon RF 800 f11 at same time because hey it was 800mm and was similar in price to the sigma lens. At first I used my 800mm all the time because I loved its reach, it was a novelty! But it has to have a lot of light and it is not great in early morning or late evening when the sun is low. Since it was not great at gathering light as it is an f11 its autofocus is slow and I miss a lot of shots especially if the animals are moving fast. When I went to Alaska two years ago I rented the Canon EF 400mm F2.8 L IS II. I was blown away by the sharpness of the images and the fast autofocus. When I came back home I longed for that lens, I wanted that lens, I needed that lens. Fast forward to a year later, I did not go on any photograph tours and instead put my earnings from my print sales and workshops towards the purchase of the RF 400mm f2.8 lens. I love it! I use this lens all the time. I choose the 400 f2.8 over the 600 f4 because of the better light gathering of the 500mm and the fact that I do a lot of owl photography and other photography in early morning or late evening like moose, foxes, and porcupines. So when I first got the 400mm I also bought the 1.4x teleconverter because I was worried about not having enough reach as I was used to the 600mm focal length I got with the sigma. At first it was always on my lens. A few times I took it off when I needed more light and it was long after sundown and gradually I just started using it less and less and got better at getting closer to my subject. Now I rarely use the teleconverter and have no issue with the reach of the 400mm not being enough.
This year I added the RF70-200mm 2.8 lens to my kit. I wanted to start working on adding more habitat and environmental photos in my portfolio. I am still working on mastering this style of photography. Now days the 400mm is my go to lens in most instances. I use the 800mm when I am kayaking to take photos of young chicks during the day so as to not get too close and because I have unobstructed view and usually do not have to worry about the background being too close to the subject to be a distraction in the final image. The 70-200mm I take with me most times and will if the opportunity presents itself use it to grab so larger animalscape habitat photos which I use a lot to support NGOs looking for wildlife photographs to supplement a campaign or article. I also take it on longer hikes as the 400mm can start getting heavy after 5 or 6 km!
Lastly you might ask about a tripod. I have one nothing fancy with a gimbal head and I rarely use it. The only time I have used my tripod is when I am sitting on an osprey's or eagle's nest that is at a distance and I have my 1.4x teleconverter on my 800mm lens and you just cannot handhold that kind of focal length any slight movement and you will lose your subject out of the field of view. I find in the field things are moving to fast to photograph bears, foxes or moose on a tripod, you miss too many shots moving and setting up again. I do however have a home made bean bag made out of upholstery fabric and filled with rice that I use to steady my lens in lots of places. When I'm on the beach, on kayak, on the window ledge in my vehicle, it is especially handy when I want to shot video with my camera. Any slight movement in shooting video is easily noticed in the final product but resting the camera on the bean bag prevents any movement.
That is what I use for all my photography. If you have any questions please feel free to drop me an email I happy to chat more about my equipment.
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As a wildlife photographer, being on location can often be a thrilling and unpredictable experience. However, despite meticulous planning and preparation, things may not always go as expected. Nature has a way of surprising us and even on location life events can change our intentions, and when it does, it's important to be adaptable and willing to pivot in order to capture those incredible moments. Whether it's sudden weather changes, elusive animals, unexpected injuries or unexpected behavior, the ability to adjust your approach is essential. This was exactly the case on my most recent trip to Jasper.
As many of you may have known I went to Jasper dealing with a leg injury that was still healing and prevented me from doing extensive hiking. My intent was I would do a lot of kayaking, using my upper body as opposed to working my legs by heavy hiking and rest my leg by having it nicely stretched out on my kayak. My hope was to find wildlife in the early morning or late evening coming to the water's edge a moose, a black bear or an elk perhaps and to capture some stunning loon photos on the many lakes. But even the best laid plans do not go as scripted.
When I go to Jasper I stay in my camper with my husband and our three golden retrievers. I hike in the early morning and late evening to spots most likely to experience wildlife and during the late morning and early afternoon, me, my husband and my dogs go on longer hikes usually into a mountain lake where my husband can fish for trout and the dogs play in the water, That has been the routine and has been for decades of going to Jasper. With my leg injury the shift was I would still go out in early morning or late evening but more with my kayak and not so much walking unless it was short easy trails. I would then edit photos midday while my husband took the dogs for a long hike in the early afternoon. Great idea until the very first day of the trip my husband hurt his back and ended up in emergency and not able to do much the rest of the week. There was no helping me get the kayak on and off the carrier (it's a heavy fishing kayak) so I pivoted to driving around in the early mornings and late evenings looking for photo opportunities. I needed with my bad leg to take the dogs for long walks as three dogs are not happy in a camper all day and my husband was unable. My leg was always swollen and sore by the end of the day, the dogs not really fully content as they are used to a 10-15km hike not a 3-5km easy walk and my husband sure was not happy with his inability to do much. And me, driven to work through the pain as it was bear season and I needed to find bears and get photos or else wait until next year, did not make the week overly fun.
Another challenge was the weather. The first four days it was hot over 30C each day. Bears are not moving a lot in hot weather, and try as a might I only found a solitary black bear and one female black bear with two cubs in that entire time. Then, it cooled down on day 5 and the bears started to move and I found the grizzly and her two cubs in the valley that everyone was saying was everywhere. I found a sub adult grizzly and a few black bears. And it was good for about two days until the rain set in. I may have envisioned capturing a stunning sunrise or a golden hour shot, but instead woke up each day to be greeted by a rainy morning. In such situations, it is easy to give up, but instead I embraced the moody atmosphere; the loon on the lake with the mist rising in the cool morning, the bears emerging from the forest when the rain would let up, with wet fur that gave it more texture in photos. I experimented with landscapes, the shades of blueish grey mountains and grey clouds, the mist on the lake in the morning, the rainbow when the sun came out.. My original shot list was out the window and I was developing a new one as I went along, capturing the elements of nature and resiliency of wildlife. Adapting to the weather can often lead to unique and unexpected shots that showcase the resilience of wildlife in their natural habitat. I missed the 55cm of snow that fell in Jasper on June 19 by one day, but had I been there I sure would have been out looking for those bear cubs capturing their resiliency. What a unique and unexpected opportunity that would have been!
Sometimes, even the best-laid plans can be disrupted by unforeseen circumstances. Weather, injuries, mishaps, technical failures, or logistical challenges can occur at any moment. When faced with such obstacles, a wildlife photographer must stay calm and flexible. Whether it's adjusting to changing weather conditions, working with uncooperative animals, or overcoming technical challenges, the ability to pivot and approach things differently can lead to unique and captivating photographs. Creativity and adaptability often lead to new perspectives and artistic interpretations that wouldn't have been possible otherwise. Wildlife photography is about telling stories, and there's always a narrative waiting to be discovered, even if it deviates from your original plan.
]]>Just the other evening I was out in nature with all my gear, quietly waiting for the perfect shot. I had been watching a family of foxes for over a week, trying to capture the special family bond in a single picture. I had already spent countless hours scouting the location, analyzing the lighting conditions, and observing their behaviour. It was a task that required not only patience but also a deep understanding of my craft.
On this particular day, after hours of waiting, the moment finally arrived. The fox kits emerged from their den to play atop the logs. My lens was trained on them. I snapped a series of shots, waiting for the precise moment when the light would hit the trees and the foxes perfectly. And then it did for a fleeting moment come together, the light, the interactions, the background it was perfection.
When I got back to my studio, I went through the images, selecting the best ones and making minor adjustments to enhance their beauty. As I posted one of the images, a follower commented "Wow, what a lucky moment!" I was taken aback by the comment. What I thought, luck had nothing to do with it. I had worked tirelessly to get that shot. I felt is was a disservice to all the effort I had put into my craft. What folks do not realize is there are rarely lucky moments in wildlife photography. You make photos if you are a good photographer you do not take photos. The images require effort, skill and patience. I ensured I had the right light, the perfect background, and an understanding of the foxes' behaviour and even with that knowledge I still waited with tons of patience to get the perfect shot. You simply do not see a fox, stop, click a few frames and move on and expect to have an award winning shot. There is no room for luck.
As a wildlife photographer, I know that the resulting image wasn't just a simple photograph, it is a piece of art, crafted through hard work and dedication. And while others may look at it on social media, possibly even stop their scrolling for a second, and maybe even give it a like or a comment because the see a beautiful moment, it is much more than that. It is a testament to the countless hours I spend honing my craft and perfecting my technique, all good wildlife photos are that - a testament to the photographer working to make a photo, there was no luck involved. .
]]>As a wildlife photographer I know that capturing stunning photos of wildlife in their natural habitat requires lots of research, patience and dedication. Once you have gained all the book knowledge you can, you have to conduct your own research and be dedicated to observing the behaviours of that species in your area. It requires stalking your intended subject quite frankly, watching them from a distance, hopefully with them not realizing you are there, sitting long hours observing day after day, even weeks after weeks or years after years. But this hard work of knowledge gathering can help the wildlife photographer capture those unique and interesting shots in gorgeous light with appealing backgrounds and even on occasion those award-winning images. But you need to be dedicated to learning the art of the stake out.
To be success in staking out your subject means you need to be willing to put in the long hours, hours and hours on end at times waiting for just a glimpse or if you are lucky a longer encounter. You can gain the book knowledge which will give you suggestions for time and place, but it is just that a suggestion to how to begin your stake out. For example, I have read up about the red fox, their most active times, their preferred habitat, prey, mating and denning behaviours. This gives me knowledge of where to begin to start to look for a red fox and when, if I am lucky I find one, then the real work comes in understanding that fox, or foxes in that area and what are the nuances of their routines.
When I learned where this family of foxes were denning I spent upwards of 60 hours the first week just staking them out. When was the mother most likely to nurse, what type of prey was begin brought back to the den, where were the parents going to hunt, when were the kits most active, which kits were more adventurous and which were most cautious, how much time did the adults spend with the kits, and where did the parents like to situate themselves to stand watch over the den. I did this all at a distance making sure I was not even noticed by the foxes so that my presence did not change their behaviour.
By doing so I learned that the mother was raising these five kits on her own, I knew when the foxes would most probably be out for the best backlit photos and where to position myself at that time to where the kits would be. I knew where the mom was usually dropping food for the kits when she returned from hunting as to get photos of her carrying her prey and the kits running off with it. I knew when the kits were going not be overly active but rest outside the den waiting for mom and when they were going to be rambunctious and as such I was able to plan my shot list. I knew where to position myself for best background and lighting based on what activities were most probably to happen when and I was able to get most of the shots I was wanting to get.
I could not have taken the time to learn all this and I might have got lucky and got a few nice shots, but using the stake out approach and understanding my subjects through observation and research before photographing them I was able instead to get almost every shot I wanted after that. There is an art to the stake out and when you master it you will have opportunity for success.
It’s always a challenge when you must deal with a dull gray background whether it is caused by a dull gray sky or dull gray water. Frequently this kind of effect occurs on overcast days especially in the early morning. But instead of despairing about the color of the sky or lack of color in the water why not maximize that dull gray to your advantage and use it to your advantage.
This is where the whole idea of high key effect can make such a difference in your photography. Attempting high key in the field works best when your image has a lot of sky or water and very little else aside from your subject. On days like this I deliberately try to dial in my settings to get that high key effect right in camera. This minimizes the degree of editing in postproduction and prevents overprocessing an image in Lightroom or Photoshop. In the field I am trying to brighten the scene without blowing out the highlights (watch your viewfinder to make sure you have not blown out the whites) as much as possible to wash out that gray and get it closer to white. That means my aperture is wide open, and I am slowing shutter speed and increasing the ISO all things that allow more light to reach the sensor of the camera. And the big bonus high key images tend to look awesome in black-and-white especially with an uncluttered background. What it leaves is a clean white palette with just your subject and minimal habitat. If the animal in your photo is highly textured, like a bear or in this case a beaver they really look great in black and white, the key is textured animals think lots of fur, birds don’t present as well in black-and-white, but fur detail really pops in black-and-white.
So when you’re in the field and it’s a dull, not a bright sunny day think about whether you can wash out the dull grey and make the sky more white if you have a minimalistic scene. Try to visually what the scene you are viewing might look like as a monochrome. Once you bring your images into Lightroom, a quick way to remove the dull gray colour whether that’s in the sky or in the water is to select the subject and invert those selection so you’re choosing everything else except the subject. Then either increase the contrast which is going to make the gray whiter or increase the whites, additionally you can desaturate the blues using the color sliders by moving it to the left (not the temperature, but the saturation slider in the HSL/Colour area). If you decide to make the image black-and-white in Lightroom convert it to a monochrome image and then go down to the slider colours partway down in tool list in Lightroom, this time slide the blue all the way to right to oversaturate, this will make any of the gray color, totally white and give the image a high key effect. Lastly focus on bringing out the texture detail back in subject by selecting the subject in Lightroom and increasing texture and contrast.
My advice, take advantage of these conditions, overcast days are great days for photography and provide some of the best photo opportunities. And be ready to get that award winning dramatic black-and-white photo!
When I first started out as a wildlife photographer, I was solely focused on capturing the subject. I have written before about the stages of growth of a wildlife photographer and how you move through various stages to get to a point of capturing award winning photos. When you are working close to the top stage most of the the time you cannot just sit back and do the same thing over and over again. You need to keep pushing the limits. I am always experimenting with different lenses, different shutter speeds, different light angles and different techniques. Experimenting gives me different shots so I do not have a series of images that are essential 300 pictures of the same animal but with the held tilted one way or another or a leg up or down. I have a dynamic range of images presenting the subject in a variety of ways.
Besides experimenting to build that range of images on an encounter I also alternate between shooting video and photos. Do I miss some great shots while filming sure, but I have a great video in which that great moment that would have made that great shot is captured. And while I might miss a shot or two while experimenting and videoing what is important I have a complete package. What do I mean by that? It means that if an editor should ever want a series of images for a publication I have a range of images from close ups to habitat photos, different light angles, different presentations, different perspectives AND I have video. If an editor is interested in reproducing the works for print they can choose one photo from the series or numerous photos from the series and not feel like they are printing the same thing over and over on several pages. If they are looking for digital content I have video to augment all those images. AND that was just the case for me last week.
I had my pinching me I am dreaming moment. BBC Earth you know David Attenborough… Frozen Planet, The Blue Planet, Planet Earth that has 9.7 million followers on Instagram… that BBC Earth sent me a request asking to feature one of my images on their social media channels and website. I was speechless. They had specifically asked for one image but had directed me to send any other images or video from the series I felt were appropriate. Now if I had simply a series of images all from the same angle, same zoom length, same lighting I would have nothing to offer but the image that was requested. However, I had close-ups which happened to be the image requested, habitat images, different angles and video. I was able to send them the complete package of the encounter.
Aside from this extraordinary opportunity having different angles, different zoom lengths, different shutter speeds, etc. means that you can offer a series of images as a set of prints which I have started to concentrate on featuring. This can help up your sales revenue by upselling from one print to a package of prints. For folks buying prints it takes the guess work out of what would work good together and lends well to the current trend of grouping images on a wall. So when you are in the field, try to get the complete package because you may never know when you may need it.
As the migration of birds back to the north using the Central Flyway begins in April, it presents an excellent opportunity for bird photographers to capture some of the most beautiful and unique species that pass through the region. Alberta boasts a diverse range of habitats, including wetlands, forests, grasslands, and mountains, each providing a unique backdrop for bird photography. As a photographer here are some opportunities to be looking for during the annual migration
Waterfowl in Wetlands Photographers can capture stunning shots of ducks, geese, and swans in their breeding plumage as they flock to the region's wetlands to mate and nest. Some of the best places to photograph waterfowl in Alberta include the Beaverhill Lake Natural Area and the Bow Valley Provincial Park.
Songbirds in Forests Alberta's forests are home to numerous songbird species, including warblers, thrushes, and sparrows. You can capture these beautiful birds perched on trees or singing in the forest canopy that can make stunning backgrounds especially when sunlight filters through. The Boreal Forest is a particularly excellent place to photograph songbirds during the migration season. The Lesser Slave Lake Provincial Park, Sir Winston Churchill Provincial Park and the Cypress Hills Interprovincial Park are great places to encounter a variety of songbirds.
Shorebirds on the Prairies The prairies are an important stopover for many shorebird species during their migration north. You can capture stunning shots of sandpipers, plovers, and other shorebirds as they feed along the shores of lakes and ponds in the region as they pass through to northern locations. Some of best places to photograph shorebirds in Alberta include the Pakowki Lake, the Bow Habitat Station, Sir Winston Churchill Provincial Park and the Lloydminster Nature Reserve.
Unique Species in Mountains The Rocky Mountains provide a unique backdrop for bird photography. You can capture stunning shots of high-altitude species such as the white-tailed ptarmigan (which was an award winning photo in last year's Audubon Photo Contest), gray-crowned rosy-finch, and the golden eagle as they pass through the region during the migration season. Some of the best places to photograph mountain birds in Alberta include Banff National Park, Jasper National Park, and Waterton Lakes National Park.
Make sure you have your camera ready! The migration of birds back to north using the Central Flyway in provides bird photographers with an excellent opportunity to capture stunning shots of some of the most beautiful and unique species that pass through the region. Whether you're interested in waterfowl, raptors, songbirds, shorebirds, or high-altitude species, Alberta's diverse habitats offer endless possibilities for bird photography. Remember to respect the wildlife and their habitats and follow ethical photography practices when capturing these breathtaking shots.
]]>I am a fine art wildlife photographer not a conservation photographers. There is a distinct difference between the two genres. I look for "the" shot to tell the story, a conservation photographer usually works with a series of photos. The conservation photographer uses that image series to tell the story, whereas I use one image to tell the story. Their story usually incorporates the habitat, I try to minimize the habitat so the species is the focal point of the image, unless I am taking a wildlifescape. I focus on photography awards to increase the awareness of my work whereas the conservation photograph is more likely to focus on publications. However, if you take the right approach in the field and are ready when the action happens then you may also get some publication work as well, but that depends on you having a photo series.
So what do I mean by that exactly? While I am in the field I am looking for an award winning photo that will make an emotional impact with the viewer. I want them to feel a connection to the subject. I want to show the viewer the subject in a different way then how people perceive them; a tender moment of an apex predator with its offspring, a squirrel looking exceedingly fierce or a normally solitaire animal huddled together in a large group. A conservation photographer is looking for a different story, one that tells of an animal's survival in its ever changing environment, its tension with the encroachment of man into its territory, its struggle to survive. We both present a story of wildlife, but from a different perspective.
Although I am looking for "the" photo I am still clicking when the action is happening and like the conservation photographer I obtain a series of photos documenting that moment, that encounter. I know people who kept only the best photos out of a series of photos, but even as a fine art photographer I am keeping them all. Why...... because of what I stated in the first paragraph, what if a publication asks you for your work? Publications might be looking for a singular photo, but usually they are looking for a series of images. My angle, my story is different than a conservation photographers but it still can tell a compelling story.
In the last few months I have been approached by two media agencies. They reached out to me based on one of my images they had seen but in actually wanted the entire story to that image. What led up to that moment, what happened after that moment. how did I feel in that moment, what did it take to capture that shot? In getting that entire story they want the before and the after photos, the images leading up to the photo that caught their eye and what happened immediately afterwards. If I had not kept the entire series I would not have been able to work with the agency. External hard drives are cheap its definitely worth the investment to keep all your images.
While photoessays are not my primary means of communicating my work, the occasional well placed image series in the right publication can definitely help with print sales. As a fine art photographer you have to continue to look for opportunities that help build your brand.
]]>Spring is a time of rejuvenation, of renewal, and awakening. Mother earth emerges from her blanket of snow and blesses us with an abundance of new life. As a wildlife photographer I always look forward to spring. Spring for me is the return of the migratory birds, including my favorite sandhill cranes, it is baby fox kits ever so playful and entertainingly exploring their environment their first few months, it's bears emerging from their dens with spring cubs, it's the ever awkward moose calves trying to figure out their long legs, and it is longer days and more light to photograph.
Spring can also be a challenging time to photograph. Most photos are best taken at eye level, laying in mud and wet damp ground is never fun. Before the trees bud out and flowers start to grow, the melting of snow leaves a dull brown palette that does little at all to enhance the background in any photo. Mornings can be super cool and temperatures drop quickly in the evening as the sun sets. While spring brings a bounty of photography opportunities it also does not make photographing easy.
I work with the not so pleasant ground conditions by always packing with me a yoga mat. When I am laying on soggy ground to photograph spring foxes or still cold and frozen sand that has yet to totally thaw as I witness the return of great blue heron in April the yoga mat keeps me and my camera dry and relatively warm. I also layer clothing at this time of year, so I am warm enough in the cool mornings but comfortable as the temperature climbs throughout the day. I usually wear waterproof hiking boots in spring as my feet are sure to get wet and there is nothing that can make you feel colder quicker than cold feet when out in the field. I also wear splash pants as I know it will probably just not be my feet getting wet especially when walking through puddles and boggy areas. When setting up my shots, I try to ensure I have a lot of distance between my subject and its background so the drab muddy ground becomes a creamy brown background that would compliment the breeding plumage of the sandhill crane, or provide a nice neutral background to a returning mallard. When the habitat does not lend itself well to get a nice photo, I switch to shooting video.
As I have spoken about before it is good to a shot list in your mind before heading out. In spring there are certain photos I am want to capture.
1. The returning migratory shorebirds trapped between two seasons winter and spring, with ice still on the lake and them standing on or near ice or snow.
2. Spring bear cubs playing.
3. Fox kits with their eyes still blue emerging from their dens.
4. Moose calves within 24 hours of birth when their legs are still wobbly.
5. Eagles and osprey parents returning with food for their recently hatched chicks.
6. On video I like to capture the sound of loons and sandhill cranes two very distinct calls.
7. Coyote or fox parents returning to their den with food for their offspring.
8. Owlets grouped together in their nest or on a nearby branch as they get braver.
9. And as spring turns to summer grebe or loon chicks riding atop their parents' back.
Depending on where you live, you shot list will vary but do plan one out as it will help you prepare when you go into the field. Layer clothing and wear appropriate footwear for the weather, consider investing in a yoga mat that is easily rolled up and carried, and try to find spots that will put some separation between your subject and the background are some of my tips for successful spring photography.
Most folks unless you are specifically focused on photographing great gray owls probably do not realize there is concern over their numbers this year. For the average person you might ask when did they last see an owl and they might reply "Come to think of it, its been a while": That is because they are not out every day in what is now their mating season looking for them. People do not realize they are pretty scarce right now.
To put it all in context let me compare this mating season to previous ones. I live in a region where I can find great gray owls all year long. I usually through the summer and fall months see one every two or three weeks, and as we move into the fall and closer to Christmas every week or two as the trees become bare. By mid-January to mid-March when they are actively mating and preparing for owlets they are out at all times of the day. By mid-February I will see them on a daily basis, sometimes three or four different owls a day. This year there is nothing. and I mean nothing. For an area like mine where they are plentiful I am not finding them in their normal locations. I have taken to asking folks that live in my region "Have you seen an owl in your area lately?". Almost everyone gives that same response as above "Come to think of it, its been a while". I am out every sunrise and sunset looking and nothing. I have gotten a few leads but nothing has panned out.
So where are all the owls? I have a theory on that, which I am exploring. Normally great gray owls will every seven or eight years go through an event called an irruption. During an irruption the owls move out of the Boreal Forest to more southern locations. This occurs because the voles numbers are low that season and facing starvation the owls move further south out of their normal range looking for food. When this happen you hear about it all over social media, as folks are spotting great gray owls where they normally do not see them. So has an irruption happened? I think not as no excited Californians are posting about great gray owls hanging out in their back year.
When I posted on some social media sites that I was concerned about their low numbers I had folks postulated theories about the amount of snow, stating snow levels might have forced them deep into the bush. Well last year we had way more snow and the owls were around but I followed up on that and using my research background dove into research papers and found studies that spoke about owls thriving in areas with four to five feet of snow. Further in mating season they are out looking for a mate regardless of snow levels so I do not believe this theory is viable. Another observation is that this phenomenon of scarce great gray owl numbers is not limited to where I live in Northern Alberta, from British Columbia to Ontario and south into the very popular spot of the Sax-Zim Bog in Minnesota photographers like me who are passionate about great gray owls are not finding them. If it was snow levels it would not be so wide spread.
So where are they? My theory and is a shocking one, they are dead. Yes I said it dead. The avian influenzae which started impacting waterfowl and geese last April is 90-100% fatal in raptors. The avian influenzae spreads rapidly through waterfowl and geese because they travel and commune in large numbers. Hundreds if not thousands of geese can be seen migrating together. Last year and now in hindsight I am kicking myself I did not stop and take photos I saw fields, and I mean full fields of hundreds of dead snow geese if not thousands on a quarter section of land. Waterfowl numbers were seriously low last year and the government of Alberta continues to track the outbreak. From the UK to Canada and into the US many people are worried about a variety of bird species.
So how does a virus like the avian influenzae make it from waterfowl to a great gray owl? Scavenger birds like ravens and crows will eat dead birds, so make a happy meal of a mallard that is dead from influenzae. Great gray owls usually eat voles however, ravens and crows will pester the owls when they see them and on occasion a great gray owl will have enough of the pestering and kill a raven and enjoy a little feast and just like that virus has moved from a duck to a raven to an owl.
I am truly concerned about what their current numbers are and what percentage of the population has been lost. And as I think of the migrating birds preparing to come back to my area this summer, I wonder what will return? Will the red necked grebes that nest in my area more than any other place in North America return? What about the American white pelican, double crested cormorants, common terns, American kestrel, bald eagles and red tail hawks? Last year the decrease in waterfowl was noticeable, American kestrels were scarce, I did not even see one pied billed grebe and I regularly experienced dead or dying pelicans on my kayaking trips.
As I try to confirm this theory I would love to hear from you and what you are noticing where you live. I am informally gathering data to use to spar action, With action we can hopefully help all these species populations to bounce back.
Each season and for any trip that I am planning I have a shot list. There are certain photos I am looking to get and I find it much easier to accomplish that in the field when I have a shot list. The list helps me think about what I need to do to get that shot. Why is this important, because it focuses my attention when I am in the field. It is easy to wander aimlessly looking for mammals or birds that I may want to photograph that day, but this is not a recipe to getting a great shot. When I have a list of shots in mind, I consider what I need for light, for behaviours and for background. This means as opposed to spending my time in the field trying to find the wildlife I instead go to an area that I know the wildlife are at (either from experience, scouting spots etc.) and I find where I need to position myself to get the shot I want that is on my list. I am not chasing the wildlife instead I am waiting for wildlife to come to me. This requires immense patience, waiting where the scene will be stunning and the light will be good and on that day nothing may ever move into the spot, but if it does I know I will have a great shot, and maybe even an award winning shot, but at least a print worthy shot. Below are more images that are exactly achieved from that approaching waiting in a location where I want the wildlife to be to make a good shot.
In a previous post I spoke about the stages of being a wildlife photographer. When you get to a level four when you are looking for a certain behaviour of an animal with great light and in a great scene with no background distractions, at this stage you do not go out looking for the wildlife you go out looking for where the shot can be made. For example if I am wanting to photograph a fox hunting in the snow I am looking for a certain spot to capture this photo. If I am just walking or driving around looking for a fox chances are I am not going to find the behaviour I want, I will get a photo of a fox, crossing a road, or just stepping into the forest but probably not a fox hunting. Instead I will situate myself in a location where I know there are foxes, where they are likely to be hunting and where the habitat is not going to compete with the action of the fox and the light is going to be good. Going out in the field with a shot in mind is very different than going out just looking for something to photograph.
It means I may wait hours and never see a fox, I may go back days and not see a fox, but when I do see a fox in that location with the right light chances are I am going to get that great photo. If I am just going out looking for wildlife I am getting a lot of photos, but I am simply getting that a lot of photos, nothing great, nothing that is going to stop someone scrolling on Instagram to take another look. When you have a shot list, and plan and give thought to how would you get that shot, where do you need to go to get it, what time of day is going to get that shot? When you have that figured out then find your location and wait. The single most thing you can do to be successful as a wildlife photographer is to be patient. Patience rewards the wildlife photographer.
]]>Winter can give some of the most beautiful photos when shooting wildlife. The backdrop of fresh untouched snow against the wildlife can be simply breathtaking. But winter presents an entire host of challenges from the ability to get sharp photos due to heat haze and air density to blue tinted white show to gear working in cold weather it takes a lot of work to get good photos in winter conditions. But when it all comes together the images can be outstanding.
In a previous blog post last winter I covered proper exposure, equipment and lens hood producing heat shimmer. Carrying on from that this time I am going to write about sharpness and winter photography.
Living in Northern Alberta I spend 4-5 months a year shooting in cold weather, often snowy and overcast. I am forever fighting to get sharp images in the winter time. Lots of this has to do with the weather conditions and not your equipment, although at first you will think it is an equipment issue. Do you remember back to your school days and science class, the old saying "hot air rises" well it does but the opposite of that means cold air sinks. But air is air what should that matter for photography you might be wondering? Referring to another science lesson as particles heat up they expand and as they cool down they contract. This means air when cold is contracting, the particles are coming closer together and the air is getting denser. The colder it is the more dense the air becomes and the more it refracts light. The refraction of the light will make it very difficult to get a crisp sharp photo. Refraction means the light changes speed as it passes from one area to another as the density changes. Light will refract at different rates depending on the density, as you can imagine the density of the air will vary considerable with pockets of colder air and warmer air trapped near the ground. This means the rays of light as they strike your camera are travelling a different speeds and makes it impossible to get a sharp image. The further you are from your subject and the more cold air you are photographing through the harder it is to get a sharp image.
For example I can photograph a coyote in the summer time in a field a 100 meters away and have great detail even with the coyote small in the frame. The same image taken in winter on a cold day, there is no way I am getting detail, almost every time I am going to have a soft image. It is not your equipment it is the environment factors affecting how your camera perceives what it is seeing.
The other phenomenon that happens in the winter is heat shimmer. Most people are familiar with heat shimmer in the summer time. Drive on an asphalt road on a really hot day and right on the horizon you will see shimmer, that hazy blurriness caused by the heat. The exact same thing happens in the winter time believe it or not. The heat from the earth is escaping into the cold air, it is rising from the ground, the difference in temperature between the air and the earth causes heat shimmer. The same effect can be found on the animal itself sometimes it has a heat shimmer around it as it gives off heat to its surroundings which is especially notable on extremely cold days below -30C.
If you want to remain in the comfort of your vehicle in the cold and photograph from your window, the warmth of your vehicle will cause heat shimmer around it as will the hood of your vehicle if you are using it as a base to shoot from. If there is heat shimmer you will never get a sharp photo it is simply impossible. Light is being refracted too much by the shimmer and your camera cannot pick up the details of the subject.
So what can you do? First do not try shooting at ground level on really cold days. Instead stand up and get above the ground where the cold air is densest and where heat shimmer from the earth may be present and try to shoot above this area. This will result in shooting downwards or in the case of a large mammal like a moose at eye level to your subject.
Do not shot from a warm vehicle or the hood of your vehicle the difference in temperature will cause a heat shimmer even if you do not visibly see it your images will be soft. Take off your lens hood to release any warm air trapped inside and then reattach it to your camera. Get as close as you can to your subject, the closer you are the less air you are shooting through and the less refraction of light. Lastly if the animal you are shooting has visible heat shimmer around it, enjoy watching the animal, maybe shoot some video or set your subject in a landscape shot but be resigned to the fact you are not going to get a sharp image of it on this day.
I live in a small town. Most everyone here knows I am a wildlife photographer. They may not know me personally but when I say my name, more often than not I get "I love your photos, I follow you on Facebook or Instagram.". Sometimes those conversations become I saw a lynx at this spot, or I have a family of foxes hanging out under our barn, or the migratory swans have been in front of my house on the lake the last three days." All great leads for me as a photographer.
Having a network is important, but not just locally. If you are looking for recommendations for a photo tour leader, are going to a new place and want to know the local hot spots, or trying to find a lead on a well used prime lens. being connected with other photographers goes a long way. I have definitely reached out to folks I know when travelling to a new area to get pointers on where to go and the best time of day.
As a wildlife photographer do not limit yourself to having a network of just photographers, some of the best contacts I have are folks who work in the environmental field within the Boreal Forest. People that are out in remote areas or the same area at different times and on different days help give me insight on animal behaviours and patterns. Knowing an animal's behaviours is one of the most critical aspects to be able to not only locate animals but get yourself in the right position to get great photos. Connecting with folks who do this daily as part of their work is a great way to get that information.
My other important network are wildlife biologist. They give me the best insight into research and what they are finding, from changes in behaviours to current conservation projects. These are local biologist in my area that understand the dynamics within the ecosystems I am working in. Reading research papers is helpful, but if it's about the great gray owl population in Minnesota and I am in Northern Alberta I can make some generalizations from the paper to my area, but they may or may not be accurate, but they do give me a starting point and a great lead in to speak to a local biologist. Biologists working in your area or conservation officers are great resources because they know exactly how those issues or insights discussed in the research papers are really manifesting in your region!
Last but by no means least is your support network. I have mentioned this in little bits here and there, but having support from family or friends is critical. I have two types of supporters in this area. I have my family who may not share my passion for photography, but respect my passion for it and support me. Whether that is helping me get ready for an exhibition or a sale, doing laundry and housework because I have been out dawn to dusk 5 days in a row or like my dear husband, plowing a road through our fields in the winter months so I can look for owls. Then I have my like minded close photography friends who critique my work, do not think I am crazy for wanting a $17,000 lens and are brutally honest about my work yet are my greatest cheerleaders as we help and encourage each other.
If you want to be successful in this business build your network, have your local intel on sightings, stay abreast of current research and studies in your area, have a wider network of folks who can direct you when you are visiting a new area, have people that will be brutally honest about your work and push you to grow and have the support of your family. These are the keys to success.
]]>It is contest time. Most of the larger International Wildlife Photographer contests seem to be in the fall with some major ones Share the View, WildArt Photographer of the Year portfolio, and the Natural History Museum's prestigious Wildlife Photographer of the Year all having deadlines next week.
Contests take a lot of work to enter. Yes, you can simply pick what you believe are your best images and enter them, but most contests cost money to enter. I think you need to be somewhat strategic about the contest you enter and what images you enter in each contest.
I recommend first understanding what type of images work best for each contest. From my observation Wildlife Photographer of the Year tends to favour those elusive animals not the fox in your backyard or the whitetail deer in the field. The images usually strongly focus on behaviours or habitats and not portraits of animals. Take a look at the North American Nature Photographer Association (NANPA) showcase awards and a very different style of photo is favoured, ones with clean backgrounds and backlit photos always do well and portraits can place in this contest also but not so much habitat photos. (Note I am referring to the mammal section in all these contests).
So now you have a sense of the types of images that would do well in each contest, but what is going to jump to the top of the 1000s of images the judges review. This is where you got to know the judges. Take the time to review their work, what is their style, and what types of mammals they photograph mostly. You need to spend your time doing some homework before you submit to contests or you are mostly just wasting your time and money.
Next is image prep, read the rules carefully about what is allowed and what is not allowed. If you do make it to the stage when a high-resolution photo is required does your image meet the standard, for example, sometimes they want a minimum of 3000 pixels on the short end. Make sure you do not over edit, you want the images to look natural not overly saturated or overly sharpened to a point the subject does not look natural, but you also want to edit in a manner that draws the viewer's eye. Then there is the caption, what story are you telling? The judges can see it is a fox with a weasel in its mouth but why was it challenging to get the photo, did you wait for hours or lay in a position where you had a leg cramp, did you watch this fox hunt and miss for hours to finally be triumphant? If the judges are trying to make a selection between your image and someone else's is your story going to connect with the judges?
My last few bits of insight, if you believe in an image do not get discouraged if it does not do well in one competition or another. The judges are judging art and art is subjective. One of my images that placed in NANPA Top 250 this year did not make the cut last year, but I believed in it and resubmitted it under different judges this year and was successful. And, be willing to be brutally honest with yourself about your work, and take feedback. When I first started out I thought hey I had a fox photo too why didn't it place, to answer that question you have to really be willing to look critically at your work, what is winning and what are you submitting? In the beginning, I had no idea about light and it took me a while to figure that out. Initially, I mostly submitted portraits there are 1000s and 1000s of great fox portraits out there (or lions, bears, deer, leopards, etc), so what makes mine so special, the reality almost all the time is nothing, it is just another nice fox photo. So what will make a photo of a fox special, what will make it stand out? It is the behaviour or the encounter that you may never see or photograph again, those are your winners. BUT they are only winners if they have great light, the subject is sharp (most of the time anyways) and nothing is competing for the attention of your subject in the image. You learn by competing and being willing to critique your work against what wins. I encourage you to compete but enter wisely and take the time to study and learn what is winning under who and what contest, and be honest about your own work. Is it to the level that it can win and if not how do you improve it?
Happy contest season!
]]>As you progress through your wildlife photography journey I believe you go through various stages as you develop your skills. I mentioned this on one of my social media pages and it generated a lot of comments and conversation. I believe there are 5 stages you go through as you progress as a photographer in this field.
STAGE 1: Your goal is to just capture a photo of X. This would be a species you have never caught on a camera before like an owl, a grizzly, a lion, a lynx etc. You are just so happy to see the animal you just start clicking and want to get a photo that is not blurry with no thought of light, composition, background etc.
STAGE 2: Your goal is to get a photo of X with nice light. You spend a bit of time considering the time of day, and where the sun is and try to get a photo that does not have a lot of shadows, is really underexposed because it is too late in the day or in deep shadows or has harsh light because the sun is too bright.
STAGE 3: Your goal is to get a photo of X with nice lighting and a creamy background or another background that greatly compliments your subject. At this stage, you are starting to consider the composition of your photo and you are aware of the light. You are looking to position yourself in the field to maximize the effect of the background, you are moving around a bit and seeing how the background changes as you move. Are there branches that can be minimized if you move, are there pockets of color that better compliment your subject if taken from a different angle, can you get enough separation from your subject and the background to blur the background? And almost everything you are shooting is at eye level. These make all the good photos you see on social media. The subject is well-light, it's at eye level and it has a nice background, you like the image on Instagram as you scroll by, it's that type of image.
STAGE 4: Your goal is to get all the elements of stage 3 in the photo but with a unique behaviour of your target species. So this is not just another nice photo of a grizzly, a leopard, or an eagle. This is a photo of a bear charging or a leopard showing a tender moment to a cub or an eagle just as it clutches a fish, all with great lighting, great composition at eye level with an awesome background. These are the images on social media that you pause at as you are scrolling along and you may even leave a comment, like nice capture, great shot etc.
STAGE 5: These are the award winners, the ones that really stand out. You have all the elements of stage 4, but the image has that special lighting, not just good lighting. That rare light that only lasts for a few moments, like the purple or gold only seen right before sunrise or sunset on occasional days, the backlighting that elevates your image. You recognize the moments in the field when the light is just so special, the purples and golds just so intense and you hope you getting a cooperative subject at that moment. When you enter these images in a contest even as a thumbnail it stands out as the judges are scrolling through the entries because of the unique color and when viewed full screen all the other elements are there, the composition, the background, the sharpness, it is simply a WOW photo. And if you really knock it out of the park you get great behaviour with it, like the backlit bear shaking off water, or the trumpeter swan rising slightly out of the water flapping its wings in the beautiful purple colors of the rising sun reflecting on the water. You get comments like incredible, WOW, unbelievable on your social media when you post these ones.
What I find is you are never entirely operating in a single stage, except for when you first start out and all your photos may be stage 1 or 2. The reality is most of my photos are stage 3 and 4 photos, as the light is just not happening most times to get a stage 5 photo. You have the subject lined up and nicely composed giving you some great Stage 3 shots and then luckily you are ready when the action happens and a coyote pounces or a second hawk dives at another and you get a stage 4 photo. That is the majority of the time in the field. And these captures make good photos for stock photography and on occasion a nice print if you are looking to sell your work. The top photographers though are always out looking for stage 5 photos, They are thinking about them and planning them, the award-winning image. They are considering where is the best location to get the best background, the best light angles, and to encounter the species. When I am in the field I am always giving myself the best possibility to get that photo, I make sure I am out at the times of day when I have a chance to get them. You have to be out before the sun rises and be in position. That means getting up at 4 am and getting to a special location out in the field and waiting. It means putting in the work, time, and effort. These types of photos you might get 3 or 4 a year and if you are really lucky but they are the photos that can make a career.
This is the time of year when I start to get my bird feeders ready and put out seeds. I often hear people say I put out feeders and no birds ever come. Winter birds make great photography subjects but there is a right way to ensure you get visitors to your feeders.
There are certain steps that can take to ensure a greater likelihood of attracting birds to your backyard The main thing is to understand bird behavior and realize they have routines. Birds establish feeding routes that they follow each day. As a new bird comes into your area for the winter such as a pine grosbeak it explores and learns its winter home. As it does it imprints spots that it wants to return to the next day for food until it establishes a regular route and a daily routine. This means you should
In terms of photographing birds, try to find a natural clear perch close to your feeders and wait. I want a branch that does not have a lot of offshoots. I trim back my cherries trees so the birds have the ability to land in a clear spot. Try to align yourself with a dark background. I have spruce trees in my yard, so I try to place these in the background of my images You want to avoid the sky as being your background and have a nice contrasting creamy background to highlight your subject. Snowy days can make some of the best day photography days.
One of the most discouraging things I see in the field of wildlife photography is unethical behavior by photographers in the field. As we continue to learn more about how different species act and respond in certain environments actions that were tolerated in the field 10 or 20 years ago are mostly not today. Through my photography, I hope to inspire individuals who follow my work to also be ethical in their practice in the field.
I have been an educator for over 30 years and believe in the power of education. So what is there to learn about ethical wildlife photography? A few things, from when and how to approach an animal, where you should position yourself, and how to learn the signs of when an animal is becoming stressed. I strongly believe that the job of a wildlife photographer is to document the stories of the animals we observe. For many folks what maybe started out as the enjoyment of observing and documenting wildlife has shifted to chasing a photo for a competition, publication, or likes on social media. How people behave in those instances can lead to actions that are harmful to themselves or the animals they are photographing.
So what should one do in the field? Think before you shot. What does that mean, here are some things you need to think about before you take the shot.
1. Am I at a distance that is far enough away from the animal to not stress the animal? Signs of stress include an animal altering its behaviour such as deer stopping grazing and moving, an owl or other birds flying to another perch, ears pinned back in some species, or warning calls given.
2. Have I observed the animal enough to be able to anticipate where they are going? For example, have I situated myself in the flight path of a hunting owl, or blocked an exit path for a mammal? If you block the pathway the animal is most likely to use, or the hunting path of a bird of prey, you are causing it significant stress.
3. Are you being silent and being still and just observing, sudden movements or walking around an animal to get a better position or better photo? This movement can be very stressful.
Things that you should not do that possibly in the past were tolerated but can cause harm to animals including using calls to attract an animal or bird or baiting any animal. Calling an animal alters its behaviour, if you are calling a moose or elk during the rut you could be calling it away from a female or group of females allowing another male to step in while it investigates the source of the call. Calling birds, especially during nesting season forces them to leave the nest to protect it and can leave their young vulnerable to attack. Baiting has been seen especially with owl photography in the past and even recently a video went viral that showed a tour operating baiting a great gray owl for a group of photographers. Baiting ultimately changes the animal's behaviour over time. A regularly baited great gray owl may stay near a roadside waiting for food, making it more likely to incur injury from a moving vehicle. People that put out food for coyotes or foxes bring these species into unnecessary contact with humans and increase the likelihood of these animals being harmed.
Lastly do not provoke an animal for the sake of a photo. Not only is it wrong but it puts the animal, yourself, and any bystanders around you at risk. If you take the time to think before you shot, ensuring you are a respectful distance away, that your presence is not changing the actions of the animal, you are being quiet, you are not moving overly much, you are not doing anything to provoke a behaviour and you are not baiting or using calls to lure animals out then you are being ethical in your actions. Place the animal ahead of the shot, never favor getting the shot over the well-being of the species. There is always a next time for the shot but may not be a next time for the animal.
]]>It is the rut season. The time when antlers tangle and horns clash. It is the time to photograph the males at their physical finest. For me, I am chasing the rut from mid-August to the end of November. Starting with the Bison with all their might pushing each other around in August and ending with the Bighorn sheep clashing horns in the early winter, it is a great time for photography.
The males have a single focus and frequently in many species, they do not ever eat during this time. With one thought and one thought only on their mind, they will follow the scent of females anywhere. I remember a few years back I was driving down a small secondary highway in the late fall. I could see a female moose on a steady trot having emerged from the forest, running along its edge and then she come into the ditch and crossed the road. I stopped to watch her when I heard the big crashing through the trees. The male was storming through the forest he burst out onto the field at the edge of the trees and was moving fast. I jumped out of my vehicle went to the back side of my vehicle and crouched by the rear bumper as I waited close by where the female had crossed the road. Sure enough, a few minutes later the male came rushing by pursuing the other moose. He paid no attention to me or the oncoming vehicles he was on a mission and that was to get to the female.
During the rut season, the males are larger than at any other time of the year as their bodies swell with the large influx of hormones. Their antlers have lost their velvet and are at the season's largest, and the fall colors make a glorious backdrop. This is the time to photograph the males!
If you are planning on photographing during the rut here are a few pointers
1. Go out in the early morning or late evening when the temperatures are low. Males are more active in lower temperatures and as the day heats up they slow down in their mating actions. So you are less likely to see them battling in midday. Your best time to observe this is early morning when it is the coolest.
2. Make sure you get the entire set of antlers or horns in your photo. I know this is obvious but you would be surprised how easy it is for an elk to move and instantly have the rack gone from view.
3. Situate the male in the landscape. Paint the scene, there are lots of headshots of big bucks or bulls and while they look great on Instagram they won't sell you any prints or win you any contests. But a bull moose in the fall colors situated in a scene just might.
4. Serious harm can occur from a set of antlers or horns and can be compounded with hoofs. Stay safe and keep your distance, males at this time of the year are aggressive. You should never approach a male and make sure you have a quick escape route should one charge.
5. Early morning is a great time to catch the breath of the animal. In the cool morning air, these can make great B&W images.
6. Find the perfect location where you would like to photograph your subject and simply sit there and wait. Do not follow the animal all but instead wait. This could take 5 minutes it might take 5 days but if it happens you are going to have a winning photo.
Best of luck and enjoy the rut season!
]]>I got comments and messages from people fairly regularly stating they wish they could get out more and enjoy nature. They tell me that their age or their health prevents them from hiking and carrying heavy equipment so they cannot take wildlife photos.
Let me tell you a few things about wildlife photography. A good photographer can take a photo of animal in their backyard or city park and make it appear to be deep in the rugged wilderness. About 70% of the photos I took did not require me to hike into some rarely accessible area carrying a 70 lb backpack and walk for days to some remote place that has rarely been touched by human civilization. That is a romanticized version of wildlife photography and it is propelled by the stereotypical image of a wildlife photographer as a 30-something Columbia-wearing outdoors person who can start a fire by rubbing two sticks, talk a bear into backing down and climb a sheer rock face with no rope. Look at Instagram and you will see the 30-something wildlife photographers posted their gym workouts as much as their photos. Do not let this lead you to believe that your age or your health cannot let you pursue your passion.
Let me let you in on a little secret ALOT of the wildlife images you see of bears charging through the water or the lion stalking their prey are taken on guided wildlife trips. The trails into the region have been made long ago, ATVs or jeeps drive you to within meters of the action, little physical exertion is required and you return to a soft bed and catered food each evening, no roughing it here. You can even bring a tripod if needed so you are not holding your camera while you wait. Those trips, however, cost a lot of money. Put aside the grizzlies and the cheetahs, moose, deer, eagles, owls, antelope and many other species are all fairly accessible if you know where to look.
I started in photography over 30 years ago when I bought a camera for my first trip aboard to India. For years I did travel photography capturing the culture and architecture of such wonders like the Taj Mahal, the Arc De Triumph, London Bridge, and the beaches of the Maldives. Back then I had my Pentax and some lenses and was on my way, I went where I wanted regardless of the terrain or the weather. Fast forward a few years later I was married with three children. My schedule was ruled by their activities, I spent evenings and weekends at hockey arenas, soccer and football fields, gymnasiums, and swimming pools. When I picked up my camera it was to photograph my children at a meet or game or to document their birthdays and graduations. Once all my children were grown up and had left home, I found myself longing to be outdoors more. On a trip to Jasper (a place we go every year to hike), I had brought my camera to take landscape photos and instead found myself wanting to photograph all the wildlife I saw. I was packing my Pentax up the mountains hoping to see an elusive grizzly, find a stellar jay, or spot a northern pygmy owl. What I have learned is the majority of the wildlife I encounter and most other photographers are within 500 meters of an access point, such as a trailhead, a side road, or a shoreline. I no longer pack big cameras on hiking trips unless I am going to a mountaintop meadow where I expect to see grizzlies or a plateau where bighorn are grazing.
When I turned 50 and menopause started to creep in, I noticed my body could no longer recover as quickly from a long hike or a gym workout. All my old sports injuries started to nag me, my bum knee from a torn ACL playing soccer, jammed vertebrate in my neck from a basketball injury, ligaments issues in my wrist from who knows what, and by far the worst a totally destroyed lower back from a severe crash 10 years ago when I was hit by a fully loaded full tanker, a B train semi doing over 100km/h. For the last two years as arthritis has set into my back, there is not a day that I do not suffer pain, yet still most days I go out and look for wildlife. So how do I do it?
I live in the country so I travel back country roads and road allowances in my vehicle where by the way you will see 80-90% of your ungulates. And that's great because you want to see them here. If you found a moose in the forest you are not going to get a nice open photo of it, branches and leaves will obscure the shot. But if you see it in a field, with the treeline in the distance you can get nice photos with creamy backgrounds that enhance not distract from the moose. I drive around backroads and through our fields a couple of hours a day. In the wintertime, besides the ungulates, I will find owls out hunting, eagles, and hawks in the warmer months perched on roadside trees and fence posts. If you have mobility issues you can still take a lot of great photos from your vehicle meanwhile enjoying the countryside.
Another place to go if you cannot hike rugged terrain or carry a heavy camera and lens a great distance is a provincial or national park. Given that wildlife is protected in these areas they tend to be in more abundance and thus easier to find. And given that people frequent these places they are more tolerant of humans than in less populated areas. You can often find wildlife in these parts by having patience, finding a space to pull off by an open area, and waiting. Wildlife will come if you wait.
One of my biggest issues is getting low to the wildlife so I am at eye level. It is hugely important to get great photos. If I am going to lay on the ground it has to be for something special because I will be forever getting back up again and my back will remind for days later. So I carry a yoga mat in my car at all times. I will place it on the shore, sit on top and place my camera on the mat. Now with the mirrorless cameras, I can flip out the viewfinder and do not have to lay behind the camera to compose the shot. I Am forever thankful to the creators of this feature as it has definitely helped my back.
Do I still hike a long way, trek through the snow for miles in snowshoes, or kayak kilometers on end on a lake? I do, but not every day as I simply cannot anymore. I may do a 15km hike in Jasper but I know if I do that, I am also not hiking for the next two days. I only make those hikes and treks now if I am wanting to photograph something I cannot otherwise access, like the bighorn sheep in full rut fighting in a high-up mountain meadow, grebes and loons carrying their babes on the back at least. or a great gray owl on the perfect perch only accessible by wading through the snow. Some of my best photos have come from waiting in a vehicle until something emerged in a field. The bottom line is do not be discouraged by your lack of mobility or age, but do what you can rely on transportation to get you around, and enjoy what is accessible in your region whether it be by going to a park or driving a back country road, but do not be deterred in pursuing your passion.
]]>To everything there is a season and now is the time for pipers. I have stated before over 200 different bird species pass through the area I live using the central flyway. Many of these are sandpiper species are coming from the far north and arctic regions on route to their winter homes in the south. One of the major lakes in the area where I live is 20km by 29km wide, which makes for a LOT of shore, a perfect place to rest and recharge on a long journey.
This time of year is also perfect for light. Sunrise is around 6 am and sunset is about 9 pm. Not too early to get up and get out before sunrise and not so late that is near midnight when you get home, which is the case close to the summer solstice in Northern Alberta. The soft pinks and purples at this time make stunning photos as the birds walk along the shoreline and at times into the water.
Usually, through the summer months, killdeer and greater and lesser yellowlegs are easily found, but other piper species are not so common. Now until late September I can go to the lake and find a different species almost every day. From solitaire and Baird pipers to godwits and avocets you never know what you will find. Some of my most purchased and most published works are pipers at sunrise or sunset. There is such a sense of tranquility portrayed in these images. They provide a mental escape even if just momentarily for the viewer which makes them perfect for print sales.
To make the most of these few weeks here are some tips I have for photographing these lovely and delightful birds.
1. You can get close to these birds if you remain relatively still, so you can use a shorter lens that allows you to use a lower aperture and gather more light. As you want to get sunrise and sunset colors you will be in low light so have patience and wait for the birds to come to you, make sure you are shooting at least 1/640 shutter speed to minimize blur caused by the movement of the bird and if you can get higher without a crazy high ISO even better.
2. Get down in the sand. Lay in it and get eye level. I actually bring a yoga mat with me so I am not laying directly in the sand and it allows me to rest my camera on the mat and not have it in the sand which can cause damage.
3. If you have a mirrorless camera save your back and flip the viewfinder into a position that allows you to sit and watch the scene through the viewfinder. Often I have my camera on my mat with the viewfinder flipped out and can sit and enjoy the birds around me.
4. Minimize the background. Move the camera slightly if a plant or driftwood is in your background and distracting from your subject.
5. Get the water in the photo, not just the bird walking on the beach as you want the beautiful pinks and purples and even if you are lucky gold colors from the sun crossing the horizon. Huge bonus if you can get a reflection too!
6. Do not get up and move around a lot. The pipers tend to move up and down the shore, if they get out of range wait for them to come back to you. Lots of movement will most likely cause them to fly off.