Archive for the ‘Wildlife’ Category

Is There Life Outside The Cubicle?

Wednesday, February 24th, 2010

If you could work outside the cubicle, what would you really like to do?

I’ve asked myself that question repeatedly. As a fresh engineering graduate in the late 1970s, my answer was playing music onstage. I wrote and performed alongside engineering jobs until the mid-1980s, when music got to be too much of a hassle. I still miss it sometimes, like an old lover.

Then I started looking for that ideal job. You know, the one where your staff always goes beyond what you ask for, and management approves your most interesting product ideas. I looked in Silicon Valley, and in Colorado near the Front Range. It took me way too long to figure out there’d always be non-ideal stuff to put up with.

After my last design job ended in 2003, I started photographing wildlife. I went to places like Antelope Island State Park, Hardware Ranch Wildlife Management Area, and Bosque del Apache National Wildlife Refuge looking for animal behavior to capture on pixels. After some print sales, a bunch of article rejections, and a few published pieces, including one in a national magazine, I decided to pursue plan B.

  Pronghorn, Antelope Island State Park, Utah
 

I started writing articles, white papers and other content for technical clients. Engineers, management and executives are too busy to write most of the stuff with their bylines. They hire people like me with technical backgrounds to do it for them. In between writing stories there was a stint as a software applications engineer. It reminded me of how much I hate corporate ego games, no matter how good the pay is.

The writing business began to dry up last year.

So I stopped and asked myself what I really wanted, after doing what other people wanted or expected of me for so many years.

That made me seriously consider escaping the office.

My wife pointed out that I sometimes know as much about National Parks and Monuments we’re visiting as the rangers do, and I love these places. After not taking her seriously for awhile, she convinced me to enter a well-regarded program in Park Management at Saratoga, California’s West Valley College.

Consider all the skills you need as a park ranger or wilderness tour leader. Navigating the territory is a small part. If somebody gets hurt out there, the ambulance may not arrive for days, if ever. You need solid wilderness first aid skills for anything from diabetic emergencies to full-thickness burns, frostbite, and arterial bleeding. You and your party may have to survive a midwinter night out if you get too far from camp close to sunset.

You may also have decide what to do about non-native plants the native animals have come to rely on, or how much restoration of cultural artifacts like ruins is OK. Maybe you’ll get to develop an interpretive program for visitors, and present it to them. You may also work a fire line, or report illegal marijuana fields in the backcountry.

It’s a lot more than wearing a uniform and Smokey the Bear hat. I hope for a job doing interpretation. Instilling respect for the resource is a must in today’s disposable, over-packaged world. But I also want to use my knowledge and career to advocate for a responsible answer to the question, “Where does it end?”

The good news is that the park management job picture, already pretty good due to the growing number of baby-boomer retirees, should be even better when I finish the program in two years. Meanwhile, I hope to build my skills and connections with summer work for local agencies.

Shot Notes -
I’d gone to Antelope Island to photograph bison in December, when males are playful and not fighting over mates. I was packing up when I noticed this group of shy pronghorn antelope munching sage and grass fifty yards away. I captured a couple frames with a 500mm f/4L IS lens and 1.4X teleconverter before they glided away. Equivalent full-frame focal length was 910mm on an EOS 1D mark II. Light was soft and overcast, so contrast was easily within the camera’s range.

The Only Time For Yosemite

Monday, January 4th, 2010

Yosemite National Park is most people’s vacation of a lifetime. All the superlatives apply to the favorite park of John Muir and Ansel Adams - vertical granite, snowy peaks, endless evergreen forests, quiet winding rivers. Most of those visitors will see it in the summer high season, when Yosemite Valley looks like an anthill somebody just kicked over.

Yosemite Valley south wall, December

 

There’s a much better time to enjoy everybody’s favorite park. In winter, most of the tourists are gone. You can actually contemplate the best vistas on foot, or get out and see the ones no one ever sees from cross-country skis or snowshoes.

 XC Skiing near the Glacier Point Road

 

If you’re short on time during one of your days, try skating beneath the Valley’s walls at the Camp Curry ice rink. Even between Christmas and New Years, crowds shrink to manageable proportions.

 Skating at Camp Curry ice rink, Yosemite

 

Everyone photographs the same iconic views in Yosemite. I always challenge myself to capture something different, especially since I’ve been there so much over the years.

The hand of man disappears under winter snow and fog, the cars drive away, and you begin to see Yosemite as the Ahwahneechee Indians saw it 200 years ago.

  Wawona Tunnel View - full-moon foggy December 

See all the pictures here.

Shot Notes -
Yosemite gets dark in winter, so you’ll be using long shutter speeds - bring a tripod. I could also have used my tilt-shift lens for undistorted pictures of granite walls. The tripod was a must for the moonlight shots from the Wawona Tunnel View. A late-model dSLR like the EOS 5D mark II gives you high ISOs without too much digital noise. You may also want a prime, non-zoom lens for shots into bright light sources like the full moon. With fewer glass elements, primes are much less likely to flare than zoom lenses.

What You Should Never Do Before Takeoff

Monday, December 7th, 2009

We got up at 0-dark thirty for an early flight from San Jose, California to Albuquerque. After the usual wait-in-your-socks routine at the gate, we found our seats.


Silicon Valley Takeoff

At this point, there are a few options. You can try to sleep in your seat, strike up a conversation with your fellow passengers if they’re awake, pull out your novel and start reading, or pull out your cell phone and tell the sales rep at the other end that your plane’s going to be late.

I can’t sleep on airplanes, so I usually pull out a camera and look for slices of airport life. There are a few things I watch for:

1. Baggage handlers loading planes, hot-rodding baggage carts or talking to each other
2. Other airplanes taking off or landing (this gets exciting if they’re really close)
3. Strong lines and shapes from aircraft tails, airport towers and terminals
4. Young passengers peeking around the seat ahead of me while they wait
5. Unusual light or shadows
6. A clean window to shoot through (scrubbed with my sleeve if necessary)

I try to reserve seats away from the wing on the side that’ll be away from the sun during the trip. This minimizes glare and gives me a clear view out the window I’m shooting through.

 
San Jose Airport foggy morning

This time, fog blanketed my view and gave a dreamy quality to the (unavoidable) wing, lights, and other planes. I put on a normal lens (45 degree angle of view, the middle of most small cameras’ zoom range) and started shooting.

The best aerial photo ops come near takeoff or landing, when the plane is closer to the ground. I prefer late fall or winter sunrises for their long-lasting light and color. I got stuck with the wing, so I used it to frame my pictures and reflect the sunrise. The fog dimmed the sky for a better exposure match to mountains and suburban sprawl on the ground.

The pre-takeoff picture didn’t have as much color as I usually like, so I rendered it in black and white. After takeoff, the orange sky painted wing and ground textures to make them worth looking at.

So what should you never do before takeoff?

Never worry about flying.

You carried on your laptop and cameras (you did, right?), so all the expensive stuff won’t go to Missoula or Syracuse with the rest of the lost baggage. You got on the plane with your business associates, wife or friends, so you’ll all arrive at the same time. Most pilots flying routes between major hubs get paid well enough to do a safe job.

So relax and enjoy it. If something happens there’s not too much you can do anyway, except keep shooting all the way down.

See the rest of the pictures here.

Shot Notes -
For travel, I pack the camera equipment in a Think Tank Airport Security v2.0 rollie bag. It fits in all U.S. domestic carriers’ overhead bins, and saves my back from a 40+ pound load. On planes, I shoot with a Leica M8 and 35mm f/2 or 50mm f/1.4 lens. The Leica is smaller than my EOS SLRs, so I’m not crowded by equipment in Economy Class seats. A cheaper alternative would be something like my wife’s Canon G10.

With dense fog, you’ll be enhancing contrast in post with Lightroom or Photoshop. In Lightroom, play with the Shadows, Darks, Lights, and Highlights sliders. Sliding Shadows and Darks negative usually improves a flat picture. Adding Clarity may also tease out more detail.

Where The Wild Things Are

Thursday, August 20th, 2009

It’s 5 AM, and the sun will rise out of the weeds in another five minutes. So far, I have a northern harrier on a post nearby, and some American white pelicans, sandpipers and gulls on the island 30 yards away. There’s also a snowy egret foraging in the shallows just offshore.

White pelicans at Shoreline Park, California
American white pelicans

These guys didn’t just happen to be there - I’ve observed their habits enough over time to know where I’d probably find them.

Location, Behavior, Light
A lot of wildlife photography is knowing where your subject hangs out. Another chunk is knowing their behavior. Couple that with direction and time for best light, and you have a good chance for some cool images.

I’m choosing locations for wildlife photo tour participants in the south San Francisco Bay Area. One spot is an inland preserve offering coyotes, jackrabbits, ground squirrels, American kestrels, wild turkeys, possible red-tailed hawks, and small perching birds. The mammals may be no-shows, but most of the birds can be counted on. There might also be some juvenile great horned owls on late summer evenings.

Black-tailed jackrabbit
Black-tailed jackrabbit

A bay-side location gives more reliable red-tailed hawks, possible golden eagles, a thriving California ground squirrel colony, and a striped skunk in early evening. There’s also a man-made lake with lots of ducks and grebes, especially during the fall hunting season. Across from a nearby golf course, a burrowing owl pair has a brood of 6-10 owlets in early summer, but the parents live there year-round.

Kissing California Ground Squirrels
California ground squirrels

The third choice is just north of the second one. It has a breeding colony of black-crowned night herons, snowy and great egrets, most active April through June. There’s also a large colony of bank swallows underneath a short bridge. I’ve photographed an Anna’s hummingbird feeding her young in a tiny nest there, but you can’t rely on hummers to nest in the same territory season after season.

Snowy egret feeding nestling
Snowy egret parent feeding nestling

The last two spots can be counted on for brown pelicans through summer and fall, plus other waterfowl year-round, since they’re on San Francisco Bay. But you can rely on any of the three for wild subjects.

What To Shoot ‘Em With
Since at least one attendee will be a young woman without wildlife shooting experience and optics no longer than 200mm, the location with the easiest-to-approach subjects is best. That’s probably the second spot with the man-made lake and burrowing owls. Those owls stay pretty calm as long as you approach slowly. And the ducks, coots, and gulls on the lake are among the easiest wildlife to photograph.

By the way, if you find yourself wanting an up close and personal image of your favorite critter, consider renting the lens you need. This is easy to do - find an independent camera shop like Palo Alto, California’s Keeble and Schuchat, and give them a call. They should be able to set you up with a 400mm or 500mm lens for your Nikon or Canon EOS camera. They can also suggest a tripod and head combination to use with the lens.

Burrowing owl yawning
Bored burrowing owl