Nature photography comes in many different flavors: landscape, wildlife, macro, underwater, flora, weather, astronomy, and on and on the list goes. In this two-part episode of Photography 101, I will focus on general nature photography that is subject-oriented (i.e., specific flora or fauna).
(1) Be patient
Nature moves at its own rhythm and on its own schedule. You shouldn’t expect a brief visit to the lake to produce the exact photo you want of a great blue heron swallowing a fish, and you shouldn’t run through the woods for an hour expecting to run out with award winning images of mountain lions and elk. As with most types of photography, rushing is the enemy.
So far as wildlife is concerned, it may be necessary to sit for hours waiting for the right scene to take shape—or even for the right wildlife to show up. If you want the shot, you’ll wait for it. There are times when you should hurry; mostly, though, not so much.
There is a difference between casual images (e.g., snapping photos of birds as you walk along a forest trail) and formal images (e.g., sitting on the bank of a river waiting for the otters to show up at their favorite dining spot). I’m obviously referring to the latter more than the former.
(2) Use blinds
As a general rule, wildlife disapproves of human presence. We are, after all, predators—though sometimes also prey, in which case our presence is much appreciated. Animals grow accustomed to human presence under certain circumstances (e.g., in parks), yet even then they have little interest in being near people unless they’ve also learned we can provide food—either from our pocket or from our flesh.
Amazingly, a lot of creatures feel much more comfortable around us when they can’t see us. Or at least when they can’t see us clearly. This is where the use of blinds comes into play.
Blinds take many shapes: standing behind a tree, wearing full-body camouflage, artificial structures, and even sitting in a car. We are viewed as less of a threat so long as something separates us from our subject. Use that to your advantage.
(3) Get away from people
This is probably the simplest way to begin seeing things that go unseen by most. Nature is nature when it doesn’t have to contend with us. Even in an urban park, you can discover a vast world of hidden treasures if you get off the beaten path and away from crowds. The fewer people around you, the more nature you’ll find.
Of special importance is that the effect is generally cumulative: The more people who frequent an area over time, the less wildlife you’re apt to see at any time.
(4) Don’t smell like the perfume counter at Macy’s
Humans have a laundry list of smells that go unnoticed by our primitive noses: our hair smells of shampoo and conditioner; our skin smells of soap and lotion and cologne and chlorine; our clothes smell of detergent and fabric softener; our bodies smell of sweat and houses and car exhaust and deodorant; and a plethora of other scents litter our presence.
Though the casual photographer need not worry so much about this warning plume, those wanting to see more of nature should consider this issue carefully. Our human smell is bad enough and something that takes much time in the wild to diminish, but you can do something about the other smells if you’re heading out for some serious wildlife photography.
First: Don’t bathe for several days. Sounds gross, I know, but it helps diminish the various smells that cling to our skin and hair.
Second: Wear the same clothes for several days. Again, a nasty proposition, but it will allow the chemical smells in the fabrics to fade away and for the clothing to pick up natural scents (like sweat, dirt and dust, pollen, etc.). These should be the clothes you intend to wear in the wild.
Third: Get out in the wild as quickly as you can, then stay there for as long as you can. The longer you’re away from cars and homes and shops, the sooner you slough off the smells that come with civilization and start picking up the smells of the wilderness.
Four: Don’t use insect repellent. It creates a toxic cloud that follows you everywhere. As if you didn’t already carry enough olfactory baggage, the pungent aroma of sprayed-on chemicals makes a bad situation worse. If you can’t handle the nibblers chewing on you, consider an insect suit.
(And of significant note to photographers: DEET will destroy your camera. On the can it says it’s very bad for plastic, let alone a long list of other materials. Yes, it is a dangerous enemy that can demolish your camera, including lenses and other equipment. Even a little DEET can cause problems. Keep in mind it’s harmful to guns and watches; now imagine what it can do to your expensive dSLR.)
Assuming you’re not aiming for a serious nature photography session but are instead looking to enjoy some of what’s out there that the average person doesn’t get to see, you can skip those rules and jump right to this one: Avoid anything with strong smells (e.g., insect repellents and colognes/perfumes).
(5) Use your powers wisely
Anything of interest will not rush out waving arms, petals, wings, branches, legs or other parts so it can get your attention. When you want to photograph something of interest in nature, you have to find it. That’s where your powers of observation come in.
Sight is obviously the most useful tool. You can’t take a picture of something you don’t see. Yet most people only see the obvious, and that’s why most people rarely see more than the mundane. You need to look for the gems lurking about in the natural world. Don’t just walk by the dandelion assuming it’s a boring, introduced, lawn-ruining rascal. Stop and look at it. See what might be crawling about its form. But if you must walk by it, at least keep scanning around you for the things that aren’t as obvious or are too small to grab your attention during a casual stroll.
Learn to watch without looking. Our peripheral vision is more sensitive to motion than is our foveal vision (direct gaze), so it’s easier to find all the hidden movement if we don’t stare at it directly. And if you don’t know where to look for something, slowly move your head from side to side and scan the area. If something is lurking about in the shadows, you’re more likely to find it by letting your peripheral vision locate the movement. This is why I often stare into space while out in nature.
Also, peripheral vision is more sensitive at night than is foveal vision. When light is limited, try scanning from side to side rather than staring. You’ve probably already seen this in practice if you’ve been in low-light conditions and seen something move at the edge of your vision. The motion caused you to turn and look directly, at which point the motion vanishes and it looks like nothing’s there, but then you turn your head again and the motion returns.
But vision isn’t the only tool. Sounds can be a wonderland of new discoveries. In fact, sound is to nature photography what smell is to wine tasting: without it, you’re only getting half the flavor.
A splash from the creek, a rustle in the leaves overhead, the breaking of a twig in the distance. Hearing can assist us with locating that which cannot yet be seen or with identifying that which is hiding right in front of us. And remember that hearing is augmented by the shape and pattern of your ears (which serve to funnel sound into the ear canals). Try cupping your hand behind your ear to augment this function.
Smell can be useful in locating signs, like scat or kills. It can also lead to specific plants: Who hasn’t followed the smell of honeysuckle to its source?
Touch is a two-edged sword. First is the warning I’ve always said: Never touch anything in nature unless you’re sure it’s safe. A simple caterpillar can inflict a dangerous sting and a plant can serve up an oily dose of rash-inducing misery. The vast majority of nature isn’t going to hurt you, though, so keep that in mind. The point is to be aware of what you’re touching.
On the other side of the blade, however, is the joy of turning over a rock and finding a magical world of life. Don’t hesitate to push apart the branches to look through to the other side of the brush or to check the undersides of the leaves for critters; just be sure you’ve checked the branches first for anything that might not like the intrusion.
While nature photography is a visual game, it hardly can be played by those who don’t use their other senses.
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Notes:
[1] I’m referring to wildlife in the wild. I do not consider zoos, aquariums, wildlife parks or similar venues to be nature photography; they’re nothing more than canned hunts with a camera. Not that there’s anything wrong with that; those are great avenues for raising awareness, promoting conservation and protection, educating, and exposing the masses to what we’re at risk of losing. Just understand my nature photography is always from the wild since anyone can walk along a stone pathway and snap images of critters who can’t escape.
[2] In state and national parks and similar places, wildlife can be acclimated to people such that it’s easier to see, approach and photograph said critters without special considerations. It behooves you to be familiar with the opportunities available so you’re prepared for the environment you’re entering and the wildlife you can see.
[3] There are natural alternatives to DEET. While I’ve not tried them, I’ve read the most effective are those based on oil of lemon eucalyptus. The concern is twofold: Do they work and what do they smell like. If they work, that’s great, but if they smell like a chemical factory then you haven’t solved the real problem.
[4] Some clothing is now offered with built-in insect repellent. Like the note above about natural alternatives to DEET, I don’t have experience with this new kind of clothing. Regardless, the same consideration applies to this concept: If it works, that’s great, but if it smells like a chemical factory then you haven’t solved the real problem.
