Wildlife photography ethics: Doing what's right!

A few years ago, I was traveling in Greenland. We landed ashore at Renodde, off Scoresby Sund, a large fjord system on the east coast of Greenland. It's rugged terrain there. Renodde is known for its muskox. Muskox are Arctic hoofed mammals of the Bovidae family. They're large, with adults averaging 4–5 feet high (1.1–1.5 meters) and weighing about 330–880 pounds (150–400 kilos), yet around humans, they're timid.

I was in the first group from our small ship to take a zodiac to land on Renodde. We hiked inland and climbed up to the top of a ridge. We noted the wind in order to stay downwind of any muskox we might encounter below the ridge. We put our cameras on silent mode and told those with us to stay low and speak in whispers.

As we slowly edged our heads above the ridgeline we were greeted by a male muskox on the large plateau below us, less than 150 feet (46 meters) away. To have one that close is a major treat. It was part of a four muskox herd. The others were about 1,000 feet (0.3 kilometers) away. The topography of the ridge made photographing the muskox difficult. Using my experience, I carefully moved to a better shooting position, bringing two others with me to the cutout where we could still remain hidden. I was able to make about a dozen images when it happened.

Wildlife Photo Walk: John Heinz National Wildlife Refuge, February 8, 2014

On Saturday, February 8, 2014, I will be leading the Wildlife Photography Walk, sponsored by the Friends of Heinz Photo Group, starting at 9am in the Visitor Center of the John Heinz National Wildlife Refuge in South Philadelphia, near Philadelphia International Airport.

We'll be walking and photographing in several areas of the Refuge, including near its Impoundment Pond, Darby Creek, Hoyes Pond, and through some of the deciduous woods areas of the Refuge. The walk will last for about three hours. During the walk I expect to discuss the challenges of cold weather photography.

Smartphone Apps for Photography: iBird Explorer Pro (updated 2012)

One of my photographic passions is wildlife photography. More and more travelers are choosing destinations throughout the world, specifically because they wish to observe and photograph wildlife. I'm one of those photographers.

When home, you'll generally find me visiting the John Heinz National Wildlife Refuge for a number of hours each week.

An important part of wildlife photography is properly identifying the wildlife you encounter, both flora and fauna. Sometimes, especially if you've not visited a location before, identification isn't easy. I'm often visiting wildlife locations with well studied wildlife enthusiasts, or wildlife experts, and they are very helpful in identifying wildlife, but sometimes I'm out alone and need some help.

Tips to capturing aquarium images while traveling

There are amazing public aquariums for travelers to visit for hours of great enjoyment and learning. Some house more than 10,000 colorful and interesting wildlife species.

Photographers in public aquariums encounter a myriad of challenges; fish in constant motion, darkness, dirty glass walls, water which washes out even the brightest colors, and general bans on tripods, monopods and flash use.

Here's my public aquarium photography tips to assist in capturing great images from your visit:

Even if you are a photographer traveling to make photographs ...

In my description of this Blog I state,

“Travel, whether on a vacation to the shore, or a 'trip of a lifetime' to exotic locations like the Galapagos Islands can be one of the most rewarding experiences we can have, whether we are photographers or not.

 Meeting new people, experiencing new cultures, learning about our 'Blue Planet,' or viewing the infinite variety of Earth's majesty, and it's wide range of flora and fauna is an incredible opportunity for broadening one's knowledge and viewpoint.

Travel promotes understanding and amity among people, and not only enhances, and enriches the life of the traveler, but encourages a better world in the ever increasing integration of the societies of our planet.

The friends one makes, the places one visits, and the experiences one lives while traveling provides incalculable value for us all.

Travel photography is the best way I know to preserve the memories of the journeys taken. It provides a concrete method of commemorating our new friendships and knowledge.”

Smartphone Apps for Photography: Tide Graph

One of my photographic passions is wildlife photography, I've traveled to many locations in the world and the US to see and photograph wildlife. When home, you'll generally find me visiting the John Heinz National Wildlife Refuge for a number of hours each week.

An important part of wildlife photography is understanding the conditions you'll encounter when visiting a particular location. I'm often visiting wildlife locations with tidal bodies of water, such as harbors, rivers, or tidal marshes, such as you can find in the John Heinz National Wildlife Refuge.

Knowing the tides is important along harbors and tidal marshes, so you'll know what kind of birds you might expect to see at various locations you're visiting. If you want to maximize your chances of seeing smaller shore birds such as sandpipers yellowlegs, and dowitchers, you try to visit during low tides.

Smartphone Apps for Photographers: iBird Explorer Pro

One of my photographic passions is wildlife photography, I've traveled to many locations in the world and the US to see and photograph wildlife. When home, you'll generally find me visiting the John Heinz National Wildlife Refuge for a number of hours each week.

An important part of wildlife photography is properly identifying the wildlife you encounter, both flora and fauna. Sometimes, especially if you've not visited a location before, identification isn't easy. I'm often visiting wildlife locations with well studied wildlife enthusiasts, or wildlife experts, and they are very helpful in identifying wildlife, but sometimes I'm out alone and need some help.

I used to carry several books with me when out, bird guides, wildflower guides and butterfly guides, for example. These can get heavy, and sometimes you get so busy thumbing through their pages, you miss seeing and photographing some wildlife, because you're unaware they're in front of you.

Now I use a number of wildlife guides on my iPhone.

Basic Composition 001

The best photos taken are the photos which are carefully planned.

Even while traveling, when we’re often rushed, when we’re preparing to go to the next site, or the next destination, taking the time to plan the current photo will produce the best photo of the current scene.

Sure, planning each photograph means setting the proper exposure, getting the focus right, and ensuring other technical aspects of the photograph, such as white balance, are as desired, but making a great photograph goes well beyond that.

Making terrific travel photographs, or any photographs, requires a well thought out composition. Carefully select your precise image and its design, order and presentation of the image’s subject matter to grab the viewer’s attention, and help them understand the photograph’s story.

Focus, overcoming the "fuzzies" Part 2

In Part 1, I discussed how auto-focus works, and many of the modes of auto-focus found in today’s camera’s. In Part 2, I’ll discuss how to use auto-focus, difficult auto-focus situations, and when to manually focus your camera if it has that capability.

A not so famous photographer said in 2007, “Out of focus photographs give me a headache.”¹

Visiting the National Zoo’s panda exhibit where the glass wall separating visitors from the bears has a zillion finger prints and other dirt, travelers notice their photographs of the Pandas are out of focus, but the fingerprints on the glass are “sharp as a tack.” Seriously, wouldn’t that give you a headache?

When I first started pursuing photography seriously, auto-focus wasn’t even a dream, but today, auto-focus is the standard, and on most cameras, in most situations it does an outstanding job, more quickly, and sometimes better than photographers can do for themselves. Please note the use of the phrase, “in most situations,” and the word “sometimes” in the previous sentence.

If you want your photographs consistently to be in focus, care and thought must be given to the process.

For good auto-focus the photographer must be cognizant of how auto-focus works. For stationary subjects, the general technique used when auto-focus is difficult is called, “focus and recompose.”

Utilizing your knowledge of how auto-focus works, you allow the camera to find the ideal “focus” for your photograph, then, after locking-in the focus, compose, or rather “recompose” the image to that desired. This is only possible if your camera permits manual focus lock. Most auto-focus cameras utilize the shutter release button to lock the camera’s auto-focus when the button is pressed halfway down. As long as the button is not released, the focus will be locked, and remain locked until the photograph is taken by pressing the shutter release all the way.

We already know, to auto-focus, the camera must find the edges of your subject on which to focus by sensing the differences in the scene’s contrast. For difficult to focus stationary subjects I use single area focus and directly point to an edge or line on the subject. If that won’t work, I’ll focus on another object, equidistant to the subject of the photo. I lock the focus and compose my image, all the while holding the shutter release halfway down, then when ready, take the photo.

Sometimes, if conditions permit, I close the aperture of the lens to the extent possible to lengthen the depth of field, to better ensure good subject focus. That can have negative results, however, if it brings into focus, objects you would rather have out of focus to make your main subject stand out.

For subjects in motion, such as birds, I suggest using continuous group dynamic focusing. This allows the camera to use multiple focus points to auto-focus, so if the subject moves for a moment, away from the photographer’s primary focus point, it will remain in focus while the photographer pans the camera to keep composing the image as photographs are taken. This mode, allows the camera to more easily find those elusive edges for focusing on moving objects. A method to assist you focus on a moving subject, such as a bicycle rider, is to prefocus on something which is stationary and equidistant from where the rider will be going across your field of vision.

Sometimes, the camera’s auto-focus can be fooled into focusing on the wrong subject. The National Zoo’s Panda exhibit mentioned above is a perfect example. At zoos, we want to take photos of animals behind glass or chain link fences, but our cameras often auto-focus on the glass or fence. In that situation bring your camera as close to the barrier as possible, such as in between the links of the fence. This brings the fence or wall too close for the camera to focus on it, so it ignores it, and focuses on the real subject instead.

If you have manual focus available in your camera, there are times it’s the best focus method to use. For macro or close-up shots, night photography, portraits where I generally focus on the eyes, fireworks, low light or distant landscapes, I manually focus my camera.

A final thought. For many landscapes, I concentrate my focus on the foreground of my image, and let the focus be what it may for the rest of the photo. This is the way our eyes generally focus on outdoor scenes, and is a very natural look for landscapes, where the background focus is a bit soft.

¹Completely frustrated with a lens that was “back focusing” while traveling in Los Angeles in 2007, when reviewing photos taken earlier in the day, which had to be re-taken, I said, “Out of focus photographs give me a headache.”

The DSLR Multiplier Myth Exposed

Last month, a friend asked me about purchasing a 300mm lens for wildlife photography with his Nikon D80, instead of a 500mm lens. He thought he could save some cash since the "300mm lens would give me the same magnification as a 450mm lens, wouldn't it?"

Before discussing the details, let me get the answer to his question out of the way, "It won't!"

What my friend was talking about is the "multiplier effect." Today's expensive professional level digital single lens reflex cameras (DSLR) have full sized sensors, meaning their sensors have the same size as a 35mm negative. Other professional DSLR's, as well as consumer oriented DSLR cameras have smaller sensors. Nikon calls their smaller sensors, DX sensors and their full size sensors, FX. When comparing lenses mounted on a DSLR with a DX sensor to a 35mm film camera, or a DSLR with an FX sensor we "multiply" the lens' focal length by 1.5, so a 300mm lens becomes a 450mm lens, or does it?

What's really happening is the field of view is being reduced or cropped. Cropping is the process of cutting part of an image out of a photograph to make the final photo. In the case of a Nikon D80 with a DX sensor, with a 300mm lens attached, the effective field of view is that of a 450mm lens. The photo is cropped, not magnified.

On the right is a view of Monument Valley through the lens of a DSLR. Inside the white rectangle is the image picked up by a full size, FX sensor. Inside the yellow rectangle is the image picked up by a smaller, DX sensor.

Note that the DX image is a cropped portion of the FX image. The field of view has been narrowed along both axises, horizontal and vertical. There is less of the scene in the DX image than the FX image.

Look at the two resultant photos on the right, below the lens view. Both are printed to the screen at the same size. The FX image is at the top, and the DX image is on the bottom.

If you examine them carefully you will find that the DX image appears more "magnified" than the FX image. That's happened because to print both photos to the same physical size, the smaller DX image was enlarged, to increase its size to the FX's image size.

This is where I believe the misunderstanding comes from, when discussing the "multiplier effect." Personally I think we would all be served better by eschewing the "multiplier" terminology and changing it to the "crop effect" and the "crop factor." If we used these terms from the beginning, I don't think anyone would think they could get more magnification from a 300mm lens than from a 400mm lens.

Now that we understand the crop (multiplier) effect, I can hear you ask, "So does the crop factor affect travel photography?" Yes it does, according to the situation. It depends on the type of photograph you're taking while traveling.

• If you're taking portraits, wildlife or macro photos then the crop factor won't be an issue.
• If you're taking landscape photos, or architectural photos in a crowded city, or indoor photos, the crop factor will impact your travel photography.

Often some of the most beautiful landscape photography has utilized wide-angle lenses to capture the scenery in front of the camera. As shown above, a DX based DSLR camera reduces, or crops the field of view. While a 28mm lens on an FX DSLR or 35mm film camera is considered to be a wide angle lens, it isn't on a DX DSLR camera. On a DX camera, the 28mm lens has the equivalent field of view of a 42mm lens.

This means that a landscape photographer using a DX DSLR needs to use extremely wide angle lenses to capture the same scenic panoramas as FX cameras. I use a Sigma 10mm-20mm zoom lens for my wide angle landscape photographs. It has the equivalent angle of view to a 15mm-30mm zoom lens which is a wide angle zoom lens specification in anyone's book.

If you've researched typical DSLR DX sensor based camera kits, I'm sure you've noticed that most come with a lens such as an 18mm-55mm zoom, which can provide a good angle of view for landscapes, architectural, and indoor photos. Now you know why.