Wildlife Photography_ From Snapshots to Great Shots - Laurie Excell [33]
Figure 5.24 Two bighorn sheep rams fight over a ewe that is in estrus.
As fall begins to wind down and winter approaches in the north, I head to Churchill, Canada, to photograph the great bear of the north—the polar bear. The bears begin to congregate on the shores of Hudson Bay in anticipation of the freeze-up, so they can head out to sea on the ice to hunt for the much-needed fatty food that seals provide. You can sense their restless energy as they patrol the water’s edge to see if the ice is frozen and safe (Figure 5.25). Meanwhile, photographers also congregate on the shores of the Hudson Bay in Tundra Buggies. All have the same goal of seeing and photographing a polar bear (Figure 5.26). From the safety of the Tundra Buggy, you can experience polar bears up close and personal when they approach the buggy (Figure 5.27) to check you out. Photo opportunities abound when the bears become as curious about us as we are about them.
Figure 5.25 A polar bear rests as it waits for the ice to freeze up on Hudson Bay.
Figure 5.26 Tundra Buggies are the mode of transportation for viewing polar bears in Churchill, Canada.
Figure 5.27 A curious polar bear approaches the buggy to get a better look at us.
Dressing for the extreme cold temps is crucial for your safety as well as for your own comfort. You can’t very well make a sharp image if you’re shivering uncontrollably (Figure 5.28).
Figure 5.28 Your own comfort is important when photographing in extreme conditions. Dress for success when photographing wildlife. Photo by Greg Cook.
As the year winds down, I have one last stop to photograph wildlife before it’s time to head back home. As mentioned earlier, I visit Bosque del Apache the first week of December each year to photograph the spectacle of tens of thousands of snow geese and sandhill cranes that migrate to the refuge in New Mexico to spend the winter. Words can’t describe the sensory experience of your first morning’s blast-off—the deafening sounds of thousands of geese and cranes calling out as they take to the air en masse (Figure 5.29). The feel of the air being disturbed by the number of wings flapping in unison and the sight of the sky darkening as the birds take flight, flying off to the cornfields for the day is an amazing sensory event. And if you are really lucky, put in the time (I’ve been to Bosque every year for the last decade), and are in the right place at the right time, you may get to experience fire in the mist (Figure 5.30). This phrase was coined by Arthur Morris when he saw the sunrise light the low-lying fog on the crane pools one morning.
Figure 5.29 A slow shutter speed accentuates the feeling of motion as the geese blast off from their roosting pond in the early morning light.
Figure 5.30 When all the elements come together—rising sun, mist, and backlit sandhill cranes—magic happens.
Wildlife photography is about getting out there and making your own good luck through patience, persistence, and perseverance. Put in the time to learn your equipment, to know your subject, and to carefully plan your next wildlife photography adventure, and you’ll bring home great shots.
Chapter Assignments
Practice makes for good wildlife shots, and you can practice close to home to improve your skills. Take the time to work through the assignments before moving on to Chapter 6, “Getting Close Enough.”
Backyard Habitat
Attach your longest lens to your camera and go out to your backyard or local park if you don’t have a backyard. Find a quiet place to sit and observe the wildlife. When you see a subject you want to capture, take the first insurance shot before moving closer. When your subject gets used to your presence, work closer and make another image. Keep moving in towards your subject, watching its behavior to avoid stressing it into flight.