Exotic Animal Field Guide: Nonnative Hoofed Mammals in the United States

Photography Basics for Exotics

Photography Basics for Exotics By Christian Mungall Getting good exotics pictures means getting good with photographing large, shy animals from vehicles—all kinds of vehicles. This chapter suggests ways to improve shots taken by recreational photographers visiting wildlife parks or ranches. Some of these places cater specifically to photographers. Although vehicle photography is emphasized, taking photos on foot is mentioned, too. As for blinds, consider leaving that to photographers who can spend considerable time in the field on their expeditions. For more on blinds, see the article by Eileen Mattei1 and the book by father and son wildlife photographers Leonard Lee Rue III and Len Rue Jr.2 For anyone wishing to photograph a wide variety of exotics in a limited period of time and needing to scout literally hundreds of acres, a vehicle gives more flexibility as well as being what the animals tolerate best without running away too soon. If you can be in a vehicle that the animals know, that gives you the best chance of all. With up to a thousand or more acres at their disposal, why would the animals happen to be near one certain blind—particularly an inhabited blind—just when you want them? Baiting to draw animals near a blind concentrates them unnaturally and tends to show them at a disadvantage—with their heads down eating. For basic technique, you have probably worked out several rules for yourself already. First, have a plan for what you want to achieve, and let your driver know what your plan is. Without a plan, it is all too easy merely to end up with photos “taken for the record.” Second, give the driver the feedback needed to position the vehicle for the best camera angle. This includes minimizing distracting elements like tree branches behind antlers, barns in the background, or a feed trough in front of a leg. Try to be on a level with your subject. Shots looking down on an animal (as with children) lack intimacy. Third, minimize extraneous movement. Ask that, whenever possible, the driver turn off the engine before you press the shutter. Remind other people in the vehicle to keep still, too. Fourth, remember to fine-tune your composition. This can include waiting a moment to catch your subject close to a relevant feature. Finalizing your framing is most easily accomplished from a vehicle by using a zoom lens. It is especially important to “fill the frame,” to make a subject animal fill most of the picture area to keep it from looking disappointingly small in the finished 38 exotic animal field guide product. Leave a little room around the edges so that feet or horns do not get cut off when the picture is printed. Leave more space in front of the animal than behind in order to convey a sense of movement. This also helps avoid unintentional cropping if the animal moves ahead! Fifth, unless you have special circumstances, and special permission, stay in your vehicle. Animals tolerate vehicles much better than they tolerate photographers moving around on foot. As far as possible, time your photography visit for when the site will be less crowded. This may mean a weekday, unless there will be a large number of school groups. Choose a period of good weather (sunny, clear, and dry) for reasons of photo quality (color, contrast, less mud on the animals, better mobility for your vehicle). Ideally, arrive early in the morning because the light is then usually at its best. The midday sun can be harsh and the animals are likely to Special pickup truck with windshield locked open, seats in the bed, and room for a tripod. Photo by Elizabeth Cary Mungall, courtesy of the 777 Ranch, Texas. Compact “zebra” vehicle with seats on front for quick tripod deployment. Photo by “Jabu” Bradley Kirkland, courtesy of the 777 Ranch, Texas. photography basics for exotics 39 be lying down in the brush. The early evening light can be similarly attractive, so try to spend the entire day. All seasons are equally interesting because the activity of the animals can change through the year. The rest of this chapter is divided into two parts. The first part addresses the question, “What do I need to know to get started?” The second part presents strategies for improving your animal photography—particularly if you find this becoming a serious hobby. Equipment PHOTOGRAPHIC GOALS AND THEIR IMPACT...