By Larry Rivers
A lot has been written through the years on hunting rifles, ballistics, areas, guides, stands, hunting methods and so forth. All of this has been dedicated to improving the basic hunting technique of the serious hunter. Attention is given in great detail to every facet of preparation, transportation, firearms, and clothing, and we see it not only once, but it is repeated at monthly intervals. With so much effort allotted to the successful hunter, and the preservation of the moment on film. It seems that nearly everyone is willing to spend months or even years planning for a hunt and getting in shape. After great expense in time and money the hunter finally moves into the field for the hunt, and then spends days or weeks in pursuit of that special trophy. Finally, the animal is found, successfully stalked, and a trophy taken, often the moment of a lifetime. You know what happens next, you and your guide shake hands, slap each other on the back and maybe shoot a few pictures. As you snap a few frames you say to yourself, "Boy are these going to be great!" then you get to the job of skinning. When you get home you can hardly wait to see the pictures, but when you open the envelope you are disappointed to see that most of the pictures are overexposed, out of focus, or too bloody to show to anyone but another hunter. A lot of enjoyment is lost that could have been yours for years to come. Fortunately this is a problem that can be easily corrected, if we pay attention to just a few simple photographic techniques. These can be broken down into four basic categories. The suggestions put forth here are necessarily brief, and directed toward a hunting application. Please use this article as intended, as a field guide to photography, and not a definitive source on photographic technique.
The first thing to remember in field photography is that you will never take a single good picture if you do not have a camera with you in the field. It sounds ridiculous but its absolutely amazing how often this happens. Assuming that the answer to this particular problem is obvious let us move on to the basic camera problems that cause the greatest trouble.
FILM:
Film is produced in a variety of film speeds (ASA) suitable for every application. Slow films such as ASA 25 and ASA 64 as a rule, produce the best definition and color, and produce the best enlargements. These films are designed for good to fair light conditions and are the ones most preferred by professional photographers. Fast Films (ASA 200, 400, and 1000) are designed for poor lighting conditions or extremely fast shutter speeds, and are of use to m primarily in areas that have a lot of overcast and/or foul weather. I personally find that ASA 25 is too slow for most hunting conditions, and rarely take it with me into the field. By the same token, ASA 400 and above ire generally faster than necessary, and are less desirable due to the extreme graininess of the picture produced. Pictures taken with these very fast films are poor candidates for enlargements, due to this course texture. In selecting your film, be sure that it is designated for "DAYLIGHT". Some films such as the 160 ASA Ektachrome are Tungsten Films intended for use with indoor lighting, and their use in the field will result in a green tint to the overall photo, I recommend a selection of four speeds, these being ASA 25, 64, 100 and 200, which will cover the majority of hunting situations. Now, contact your outfitter, or other individuals who have hunted in the area you are about to visit and rind out the prevailing weather conditions. If it is generally clear, you will want to have the majority of your film in the slower category, or if the weather is generally poor, such as found on the Alaskan Peninsula, you will want to go heavy on the ASA 200. Whatever you do, remember that you must have the proper film for the light conditions if you put in Kodachrome 64 yesterday, but you wake up to an overcast day today, CHANGE FILM. The roll need not be wasted just note the exposure that it is on, then rewind the film until you feel the pressure release. The tail shouldn’t be rewound into the canister. Place a note in with the used film denoting the last picture exposed and set it aside for another sunny day. When you need it, just put it back into the camera, THEN WITH THE LENS CAP IN PLACE OR YOUR HAND OVER THE LENS, click off the number of exposed frames plus one or two extra. This will preserve your previous shots without damage. NOTE, WHEN YOU CHANGE FILM, BE SURE TO CHANGE THE CAMERA ASA SETTING TO THE NEW FILM SPEED. Which brings us to the next most common problem.
CAMERA ADJUSTMENTS:
Most cameras I see coming into camp any more are of the automatic variety, where the photographer needs only to focus and shoot, The only special attention the camera requires is that it must be told what speed film is inside. The camera has no way of knowing this if you do not adjust the dial. If the meter is set on the wrong ASA the pictures will be either over or underexposed, and you will miss the photo you were counting on. Be sure to adjust the setting each time you change film. Even with automatic camera adjustment, you have some control over the camera, and the final product that it produces, and you should pay some attention to it. Most automatic cameras allow the user to set either the shutter speed or the shutter aperture (f-stop), to the selection of his preference, At this setting the camera will make the other adjustments and circumstances. You should be concerned with the f-stop, to some extent as this adjustment determines the amount of depth that will be in focus when the picture is taken. Large shutter openings such as f-1.8 have a very narrow depth of field, which means that only a limited area will be in focus when the picture is taken, The smaller openings such as f-I 6 and f-22 have a wide depth of field, which means that not only the subject but much of the foreground and background will also be in focus. This is important to remember when you photograph in scenic locations, as with a sheep on a high mountain ridge. If you want both the trophy and the background valley to be in focus you will need to select a high number f-stop. In turn, when you photograph a trophy moose in the alders you may wish to use a smaller f-stop such as f-2.8 which will allow you to focus in on the moose and hunter while leaving the alders and brush blurred in the background. Depending on your camera system you can obtain these settings by either adjusting them directly on the lens, or by adjusting your Shutter speed. Many pictures are out of focus simply because the Photographer didn't take time to focus, but I have found that this is not a common problem.
More often than not, focus problems arise hen shots are being taken through a variable telephoto lens. When this situation occurs, the subject may actually appear to be in focus when the photographer looks through the lens, but the actual photo (especially enlargements) reveal a fuzzy image rather than the sharp contrast desired. This can be eliminated if you ill focus on the subject at maximum telephoto, then back off the lens to the power you desire, without readjusting the focus. This triple procedure will make a noticeable improvement on photo sharpness.
CAMERA EQUIPMENT:
All of the brand name cameras are capable I producing excellent photographs, from the little shirt pocket variety to the larger SLR cameras with their selection of lenses. If your camera will accept various lenses, I suggest that you use a wide angle lens near the 28mm Size. These lenses give you a much larger field of view and generally allow you much better coverage at the close ranges generally found in photographing hunting trophies. I also suggest that you never go out without taking a polarizing filter and small electronic strobe. Have you ever noticed how your photographs seem washed out, and the clouds don't seem to stand out in the sky like hey do in professional pictures? The answer to correcting (his problem is the use of a polarizer. Put one on your lens and give it a try, you need to adjust it for each picture, but the results are definitely worth the effort. And the strobe? Use it up close to highlight faces that are shadowed. If any part of a face or the trophy is shaded you should consider using your strobe. Also, there arc times when you have no choice but to shoot into the sun. In this situation you should protect the lens from direct sunlight and use the strobe to rill in the shadows. This is most important in heavy brush or late evenings. It won't light up a landscape, but at close ranges it will give you clear pictures that you could not otherwise obtain.
So now we have loaded the camera with Film of the proper speed, adjusted the light meter for the Film in the camera, adjusted the f-stop, and Focused in on the subject, If there are heavy shadows we have put on the strobe, and now we are really to prepare the pictures These arc all small but very important details. Now we have to do the planning and the preparation that will create a really good photograph.
PLANNING THE PHOTO:
Unfortunately the majority of photos do not depict a trophy taken, rather they can be defined as "dead animal pictures". This is a concept that everyone of us must realize, and work to dispel. Photos of trophy animals can be tasteful, and enjoyed by nearly everyone, but if poorly done it will turn off everyone but the most dedicated of hunters. Even these individuals will wince at the sight of such bad publicity. This needs to be one of our first concerns in planning any such photograph. When you go up to your animal, look at it through the eyes of the non-hunter and plan accordingly.
Now look around you to see what the country is like. Often. especially in the case of mountain game, it is possible to improve the photo by moving the trophy a short distance to a more scenic location. Perhaps you can position yourself to take advantage of a spectacular view, or some colorful vegetation, If you are in deep brush, try to move into the open, or if in a swamp, you may wish to move onto a dry knoll. The site will dictate the possibilities, but be open to any opportunity to improve the setting. In some cases, as with moose, it is simply impossible to move the animal. Many moose die in thick alders. This provides little opportunity for a good picture, but just a few minutes with your Knapp saw will clear the area immediately around the animal enough for you to get a good photo.
Once the location is picked, then clean up the area. When your friends look at the pictures you want them to see the trophy and hunter, not the backpack and dirty socks in the background! Now that you are in the position you want, take a close look at your trophy. If the face is bloody it only takes a few minutes to fetch some water and clean it off. Often an unsightly hole is left where the bullet exits the body, plan your photo so that this or any large amount of blood is not exposed. Often this can be accomplished simply by turning the animal or through careful placement of the hunter. Now, place the legs in a natural position, such as the animal would use if it were laying on the ground, sprawling legs look unnatural, and distract from the photograph. If the tongue is hanging out, place it back in the mouth, or remove it in some manner, Do everything possible to place the animal in a natural position.
With the trophy in position it's now time to position the hunter, which also requires some consideration, Plan to take your picture, if possible from the front quarter of the animal, with the hunter positioned behind, and to the side of the head. If the game species or photo is one that requires tire hunter to [,old p a portion of the animal, such n ,tic, or bar paw, have him do so at arms length. This all has the effect of foreshortening the picture. In this way the head of the bear, or antlers of the moose will be in the foreground, and take on the appearance of being much larger when compared with the hunter in the background. If the hunter does not need to support the animal, have him position himself a yard or so behind the animal. A hunter positioned in front of the trophy has just the opposite effect. His position will nearly always make the animal appear to be smaller than it actually is, Whatever you do, don't sit on the animal. In promoting hunting as a respected sport we need to be especially careful not to be disrespectful of the animals taken. A hunter sitting on an animal is often viewed m an insult lo once healthy, noble animal, which is not the image most of us wish to present to our non-hunting friends. Now, smile, and look like you arc enjoying the hunt. A big smile brightens up a photo and pt4ts the viewer in a good frame of mind. Ever see someone selling a product on television that frowned? Not a chance. Remember, we are selling hunting, give is a smile
Now that the camera is finally clicking, keep it going. Take a lot of pictures and, with each new angle, adjust your polarizer for the best contrast. Then shoot a few more without the polarizer, and always shoot a few using the flash. Remember, only a few of your pictures are going to turn out really well, so be sure you have a number to pick from, Take shots up close, and from back always. Try unusual positions and angles, and don't be afraid to shoot a few rolls. When is the next time you will be here? Before you start, check the camera setting we covered to be sure, they arc correct, several rolls of film shot at the wrong ASA will ALL be bad. Turn the camera up on its side for at least 1/3 of the shots. It gives a good perspective to mountain shots that can't be realized if the camera is held in the normal position. It also makes caribou antlers seem taller and valleys look deeper.
As you shoot, use a variety of f-stops and shutter speeds. preferably using the manual override feature on your camera. Even an automatic camera often gets a bad light reading, and produces poor photos. To insure against this I suggest that you take one or two extra photos of each pose at an f-stop setting two stops above and below the automatic exposure, For example, if your automatic setting calls for an exposure at f-8 at a shutter speed of 1/125 and take a shot or two and then, AT THE SAME SHUTTER SIPEED, shoot some additional shots at f-16 and f-4. This is called bracketing your picture. It covers the possibility that your camera might be shooting a slightly under or overexposed photo with the automatic setting. Don't be afraid to take the time to shoot a lot of pictures, Several rolls are not too many, considering how far you have come for the hunt. A good photo is worth far more than a thousand words when it comes remaking your friends believe how big your trophy really was, and thephot6s that turn out bad can always be thrown away. All of which brings up my last point, select only the best photos for display. Poor photos may mean something to you, but they are distracting and cause a listener to lose interest in your story, Every professional photographer realizes the truth of the saying "The difference between a good and a bad photographer is how they sort their pictures!"
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