Vic's Blog

Anyone who has dared to try it knows—it’s scary and exhilarating to photograph a large animal up close.  So when you see a close-up of an elk, you can bet that the photographer was crossing his or her fingers that that powerful animal would stay put for the duration. Every adventurer, trekker, or outdoors photographer knows you can’t dwell on the risks if you want to revel in nature’s rewards. 

At the same time, some precautions are sensible.

My approach to getting shots of dangerous wildlife focuses on three aspects: proper equipment, heightened awareness, and communication.

 Go Out Prepared

If I’m going on a shoot in which I plan to get bison picture, a Montana elk picture, or a nice bear shot, I go out prepared. 

Make sure that you have a good telephoto lens (400 to 600mm is best) so that you don’t have to get dangerously close to the animal to get the shot you want. 

If you’re using auto-focus, it’s best to turn that off, as the focusing motor can surprise the animals. 

Also, if you’re shooting digital, make the camera run as silently as possible; you can even muffle the sound of the shutter with a piece of cloth or a shirt if need be.  The last thing you want is for the animal to run off or get angry right when you focus on it.

Be Aware

Secondly, bring the right shoes and the proper equipment, but also a heightened sense of awareness.  Wildlife photography is dangerous.  Know the animals that you’re approaching; determine if you are approaching them in mating season or if you are between a cow elk and her calf.  Have an escape route and recognize when you are getting too close.  Always check to see if there are other animals around that you might not have noticed at first. 

Communicate With The Animals

The third point is specifically for shooters who have some experience with wildlife photography.  When I’m approaching a brown bear or a bison, I try to establish communication with the animal.  Often I speak to it.  I speak calmly using soothing “words”—low, hushed sounds. 

With this technique I have gotten as close as ten feet to a stand of bighorn sheep and I’ve gotten some amazing bison pictures, bear shots and Montana elk pictures.  Actually speaking words calms the animal.  It tells the animal that you are not sneaking up on it and that you are not dangerous to it.  It also soothes me when my adrenaline gets going!

If my lawyer were to see this blog, he’d want me to put in all sorts of provisos about not trying this ‘conversation’ approach with wild animals. Of course, you have to use your own judgment in the field. I’m just telling you what works for me out there!

I want to talk about how to get that perfect nature photograph—the one you’ve always dreamed of.  Many photographers are unsatisfied with their landscape or animal photographs. Why? They think something’s missing. Like the eagle nest in a shot of a soaring eagle. Or cubs near the shot of the mama fox.

The problem is that these photographers also think that getting the perfect eagle action picture or the charging bison picture is a matter of luck rather than of preparation.

It actually has a lot to do with research and patience.

Let’s say you’re interested in bird photography and want to get a great shot of a group of colorful birds in the Costa Rican forest.  The first step would be to know when they migrate there, so you can predict when you’ll find them all together. But then you’ll want to know what times of day they feed.

Then research, from the comfort of your Lazy Boy, the specific colors of the birds, what light factors and what shooting angles would work best.  Would the birds look best in flight, against a sky blue background?  In direct light, or in low dawn haze?  After this, you’ll want to sketch out what kind of composition would best fill the frame…before you get there! 

Finally, you realize that you’re going to have to get up at 4am in hopes of getting a shot of the macaws at dawn. And you’ll have to drive a few hours into the rainforest just to get there ‘on time’…which is often early morning. Maybe the first day you go, no birds will appear! And the second time a fluke rainstorm will roll in. 

Keep trying—no one said bird photography would be easy!

So next time you dismiss that great eagle action picture or that charging bison picture, consoling yourself with the idea that the photographer was just lucky, think again. YOU could get such a great shot, 9 times out of 10, IF you plan for it. The photographers that go out of their way to prepare… put themselves right in luck’s way. 

Their images are the ones that we remember.

One of the things I love about being a landscape and animal photographer is giving advice to would-be nature photographers.

Talking about composing shots while you’re literally in the trenches… and about being prepared for every outdoors image, all of that ‘shop talk’ is hugely rewarding. That’s why I hold regular nature photographic workshops and try to make myself available to up and coming shooters who have questions.

And do they ever! Many photographers contact me and ask if I’d  review their portfolios and give them some honest feedback.  I’m happy to do this and I encourage people to give me a call.

Be forewarned, though!  

I only like looking at the portfolios of those who take their nature photography to heart. I will give feedback as one serious photographer speaking candidly to another. Your results don’t have to be perfect yet – otherwise why would you be asking me for input – but your seriousness needs to show!

This is a wonderful community of nature photographers, those who take capturing life outdoors — in all its complexity and unrehearsed charm and grandeur – seriously.

If you’re a serious nature photographer and you’d like to send me your portfolio for a critique, expect to get real criticism, not just some watered-down words of encouragement.  My teachers were great because they were honest and sometimes ruthless with me.  That‘s how I progressed—by having someone point out what was lacking in my work.

And this is how I think it’s best to help other photographers.  I won’t be mean, but I will be honest, as I would hope that you would be if you were in my shoes.

Hey, and if you’re having trouble getting your portfolio together, or if you want some pointers when you’re starting out, be sure to check out my nature photographic workshops.   Click here for more info.

Buying a new camera can be difficult! 

There are so many brands, so many models and so many features.  How do you know which is right for YOU?  How can you know if you’ll need 8 megapixels or 12 megapixels?  Should you get an SLR or a point-and-shoot?  Should you spend $150 or $1500?

Well, the first question to ask yourself is: What kind of pictures will I be taking?  (Are you the kind of person who forgets to bring the camera to family events…or do you bring the camera and the tripod?)

Serious Photographers Should Buy A Digital SLR!

If you take special pride in your photographs, then you should consider buying a digital SLR camera.  These cameras are more expensive (starting at about $600) but have a variety of features that put them a cut above– longer battery life, instant start-up, more manual controls, a larger image sensor, and continuous shooting.  If you’re a serious outdoor photographer and you want to take stellar photographs, a digital SLR is what you’ll need.

The Canon EOS 50D 

I find that most outdoor photographers will find everything they need in the Canon EOS 50D.  For wildlife and scenery photography, this is a great choice—it has many of the features of a professional model without the extra cost. 

The 50D is great for wildlife photography because of its fast continuous-shooting mode.  This camera can shoot 6.3 shots per second, which is perfect for when you’re shooting a fast moving animal.  With 6.3 shots per second you know you won’t miss the best shot.

The other feature of the 50D is its flexible ISO settings.  The Canon 50D can shot at ISO 6400 and 12800… which is invaluable to anyone shooting in early morning or dawn/dusk light.  Early morning is the best time to capture wild animals, and with the 50D you’ll never miss the shot. 

The 50D has the kind of tools that take the camera out of the equation…so you can concentrate on what’s really important!