the photoshooter's journey from taking to making

Posts tagged “wildlife

FLY/NO FLY ZONE

By MICHAEL PERKINS

THIS MORNING, AS I WALKED THROUGH A LOCAL PARK, my “poster child” for this current phase of the pandemic became, in essence, a poster bird.

One thing is certain about predators: they’re not crazy about hanging with humans in close quarters, certainly not at a distance of little more than twenty feet, which is where I found this red-tailed hawk staring back at me on the edge of a suburban park, only ten yards away from the nearest house and barely fifteen feet off the ground. Raptors typically keep their distance and maximize their stealth in heavily peopled areas, and so I was quite astounded that this fellow was remaining within camera range for what seemed forever.

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Then I noticed his left foot….or, rather, his lack of one.

A million different scenarios zipped through my brain as to how this elegant hunter might have been rendered, in the worst case, unable to hunt, to feed himself. A fight? A storm? A birth defect? All roads led to the same conclusion… that an intervention of some kind was needed. A call was made to the local wildlife rescue agency, and the street coordinates were reported. Stay there, a volunteer said, and we will call you back in a half an hour….

And so we walked….literally “once more around the park”. As we killed the clock, I began to think of the bird as emblematic of where we all are at the moment. Technically, we still might have wings, but can we fly? In the wake of our various recent “injuries”, can we protect ourselves from the possibility of even worse harm? Can we keep our balance, adapt, adjust? Which skills are most crucial to the new “us”, and which of us might prove too damaged to make the transition?

Upon returning to the tree just ahead of the wildlife agency’s return call, we found that our charge had already answered most of those questions: he was gone. The agency told us that many such hobbled birds manage, and that, once on the wing, no rescuers could capture our hawk anyhow. Its survival was completely a product of its own actions from here forward. Just like us. God, just like us……


BURNERS

By MICHAEL PERKINS

“You’re taking your camera with you? TODAY?”

WHEN PHOTOGRAPHERS SPEAK OF A “LEARNING CURVE” for either techniques or gear, they’re actually talking about the process in which you make a whole lot of bad pictures on your way to good ones. Mastery is about of lot of things, but it’s mainly about lousing things up for a good long while and using the negative feedback to figure out what to do right by doing a whole lot of things wrong first.

The reasonable goal, therefore, in trying to get to the next level with your photography, is to do any and everything to speed up that curve…. to, in effect, tunnel toward your goal by getting all those transitionally wrong pictures past you. Being impatient in this regard, I have developed the habit of taking along whatever camera I’m currently trying to tame at every available opportunity, especially if there will be “nothing worth photographing”, whatever that means. I call such outings “burner days”, as I have no expectation whatever of producing any keepers, but am merely making myself shoot enough with the gear in question so that mental and muscle memory are built up more quickly, leaving me readier at an earlier stage to do something of consequence when it really matters.

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The hungry woodpecker seen here was the product of a burner day, as I figured that a June morning in Arizona was too hot for any birds to venture out. I was wrong, and I took home a little miracle, not because I’m amazing, but because I was available.

Shooters who have never known any other realm than digital are already a little mentally ahead in the burner game, in that they are already accustomed to quickly firing off and evaluating lots of blown shots on their way to the final product. Those trained inititally in film were hemmed in by how many shots they could financially afford to attempt; moreover, the time-line of their failures was also drawn out by the unavoidable waiting period between snapping and processing. Now everyone can afford to fail, a lot, very quickly, and that is a good thing. The break-in period for any approach or equipment in greatly foreshortened in the digital era, with the added plus that many shots that might have been total flops in analog days can now be instantly re-calculated and reshot in the field, and possibly saved. An amazing luxury.

And so, there is real educational value in shooting your little fingers off at every opportunity. First, there’s little cost in either time or cash in trying everything you can think of. Secondly, since no one knows for sure that there’s literally “nothing to shoot” when they head out on a given morning, the element of surprise is constantly in effect. Many days you will bring home both blown exposures and technically perfect shots that are devoid of impact. But each one of those misses builds the habits that eventually will produce a higher harvest of hits. Simply, you can’t be sure that the picture of your life won’t jump into your lap even under the most unpromising scenarios. Better to be present to at least make the attempt, because even the bad pictures are stepping stones to the miraculous ones.


THE GIFT

 

By MICHAEL PERKINS

IT NEVER FAILS. You go to the grocery store for a carton of milk and come back with salsa, canned pineapple and half a pound of bologna. You may not have even known you “needed” the additional items, but, son of a gun, that extra large salsa is on sale. And, just like that, a quick stop becomes a shopping trip.

Photography is sort of like that.

You head out with specific objectives in mind, not thinking that fate has other plans, and will gently incline you in their direction. “Gentle”…like a freight train. In the case of a recent bird walk, my photographic plan “A” may seem odd to the average observer, in that it was to walk around with birders and not take any bird photos.

In my defense, I was already halfway through an extended birding weekend, accompanied by my wife and other serious spotters in a variety of southern Arizona locales. Moreover, even though I possess zero talent and little inclination in the study of all things airborne, I had nonetheless nailed a few easy exposures of very tame birds in the habit of eating very slowly on feeders near very large throngs of people…..basically zoo shooting with better singing. But the morning in question was different. Spotting birds in the wild is for grown-ups, and my infantile attention span is often drawn off center by the woods or canyon or, in this case, woodsy canyon that houses the various winged wonders. The spotters can spend hours arguing over the nomenclature of whatever they’ve flushed out of the foliage. For me, the foliage is why I came.

1/400 sec., f/5.63, ISO 400, 195mm.

Thus, on this morning, I was sporting a 24mm wide angle to highlight the contours and curves of Ramsey Canyon, although I also had shoved my 300mm zoom inside a fanny pack as an act of pure superstition. Thus, the appropriate division of labor for the outing was established: Bird People watch birds. Tree Hugger tags along and shoots trees. Then we came upon a small footbridge surrounded by a small pack of mule deer, feeding at a level of relaxation that can only occur when you become accustomed to bipeds in goofy hats routinely traipsing through your backyard. One of the Bird People, knowing a camera nut was in their midst, gave me a heads-up. A desperate minute of crouching, zipping, fumbling and mild cursing later, I had managed to attach the 300, worrying all the time that something or someone would spook the group.

After that fear was allayed by the deer’s total state of chill, however, I was overcome by a new emotion, something I can only characterize as gratitude. I have had many encounters with deer in the wild over the years, but in each case I had only had scant seconds to try to capture anything. Here, suddenly, I was presented with a group so docile that I could walk to within twenty feet of them and have the most precious gift, the gift of time, with which to plan shots. The female seen here was intent on staying in clear sunlight next to a tree, while her male companions were gamboling inand out of the dappled shade at too great a speed for accurate metering, so, yeah, I went the easier route.

The point is that the situation allowed me to shoot twenty or more frames and have time in between to make an assessment as to what might succeed. It was an astounding luxury, a rarity among rarities, and my photos became my prayer of thanks.

Come for the forest, stay for the deer.

Or: come for the milk, stay for the salsa, pineapple, and bologna.

 


OF BIRDS AND BARRIERS

Zoom lenses, while great, price many shooters out of the market for making shots like this. 1/160, f/5.6, ISO 100, 300mm.

Zoom lenses, while great, price many shooters out of the market for making shots like this. 1/160, f/5.6, ISO 100, 300mm.

By MICHAEL PERKINS

PHOTOGRAPHY IS ART’S GREATEST “DEMOCRATIZER“, a medium that levels the playing field for creative minds as no other medium can. “Everyone gets a shot”, goes the old saying, and, today, more than ever, the generation of images is so available, so cost-effective that almost anyone can play.

Yes, I said almost. Because even as cameras become so integrated into our devices and lives as to be nearly invisible, there is at least one big stump in the road, one major barrier to truly universal access to image-making. That barrier is defined by distance and science.

For those longing to bring the entire world ever closer, zoom lenses and the optics they require still slam a huge NO ADMITTANCE door in front of many shooters, simply because their cost remains beyond the reach of too many photographers. Lenses going beyond around 300mm simply price users out of the market, and so keep their work confined in a way that the work of the rich isn’t.

Look at the metadata listed in the average “year’s best” or “blue ribbon” competitions in National Geographic, Audubon, Black & White, or a score of other photo magazines. Look specifically at the zoom ranges for the best photos of birds, insects and general wildlife. The greatest praise is heaped on images taken with 400, 600, 800mm glass, and rightfully so, as they are often stunning. But the fiscal wall between these superb optics and users of limited funds means that many of those users cannot take those images, and thus cannot compete or contribute in the same way as those who can afford them. For an art that purports to welcome all comers, this is wrong.

The owl image at the top of this post fell into my lap recently, and I was able to take advantage of this handsome fellow’s atypical appearance at a public place with the help of a 300mm lens. But that’s only because (A) he was still only about forty feet away from me, and (B) he is as big as a holiday ham. If he and I had truly been “out in the wild”, he would have been able to effectively enforce his own no pictures today policy,  as I would have been optically outflanked. Two options would thus emerge: drop thousands for the next biggest hunk of glass, or take pictures of something else.

I am for anyone being able to take any kind of picture, anywhere, with nothing to limit them except their vision and imagination. Unfortunately, we will need a revolution on the high end of photography, such as that which has happened on the entry level, to make the democracy of the medium universal and complete. We need an “everyman” solution in the spirit of the Kodak, the Polaroid, and the iPhone.

The world of imaging should never be subdivided into haves and have-nots.

follow Michael Perkins on Twitter @mpnormaleye.