PHOTOGRAPHY TIP #6 (6th June 2007)

REVELATIONS

Nature often does not reveal itself readily and it takes a keen–eyed to observe the intricacies of nature. Understanding the habitat of what you intend to photograph is one thing; finding the creature is another. And because many are cryptically camouflaged, it is often near impossible to see them unless you have the knowledge or experience to do so.

 

 

 

 

 

 

 

 

 

left: Peacock sole impeccably camouflaged
right : Decorator crab noticed only when it moved

 

 

 

 

 

 

 

 

Night Jar in the centre - almost impossible even with keenest eyesight. Eyeglow noted with searchlights

Look for the edges of leaves being eaten as opposed to leaves where central parts are eaten in a haphazard manner for the former reveals the presence of stick insects and the latter – beetles, bugs, caterpillars. Stick insects feed at night and that is when there are most noticeable. Some leaf bugs remain on the underside of leafs to avoid detection; so purposely look under or turn over the leaves to check them out

 

 

 

Mottled patches on its body helps to disquise the Flying Lemur's presence

 

 

 

Some creatures actively change their colours when noticed and will take on the colours of the surroundings like the octopus. Some actively play dead by lying flat and appearing like debris. The nightjar rest on the warm ground at night making its characteristic call and often it is unmasked when the its eyes reflect a red glow when the torchlight is directed towards it. Some can only be seen when they are actively moving to feed

 

 

 

 

 

 

Moth against tree bark

 

 

PHOTOGRAPHY TIP #5 (25 May 2007)

LOOKING AT LIFE DIFFERENTLY

 

It is interesting how the subject is viewed at eye-level, ground level or from a much higher level. There is always a preferred way or most common way. But what stands out will be how one interprets how your subject should be portrayed or viewed. Challenge yourself to be different, for the more difficult the angle is probably one that is least tried before and likely to be most interesting if it is able to convey something different.

 

 

 

 

 

 

A view of Rafflesia kethii from directly on top using a fish-eye lens (Nikon 8mm)

A view from the underside can also appear most dramatic. Ground level photography may require one to be on all fours and a tripod that can get really low.

A view from the right or from the left may give a different perspective. Flashlight may either blend into the background or create harsh shadows depending on the objects in the vicinity of the subject.

Whilst it is interesting to focus on the subjects in its entirety or even close-ups; the broad perspective of the surroundings or environment is what makes the image special and is often used to introduce the subject in magazines or coffee-table books

 

PHOTOGRAPHY TIP #4 (13 May 2007)

BE PREPARED

 

Photographing subjects that do not keep still is always a challenge. Some subjects may lay still for a little while and it is important to study their habits and the opportune time to photograph them. Reptiles need to warm themselves by basking in the sun before they become very active. It is not uncommon to see sun skinks and snakes sunning themselves and perhaps is also the best time to photograph them.

 

Changeable lizard basking in the sunshine

Butterflies will need to dry their wings if they have just metamorphosed. And even if they are drying their wings, they do flap their wings. Bees are busy collecting nectar in the morning and is also a good time to seek them out. In fact bees, butterflies and birds compete with each other for the same nectar.

 

 

 

 

 

 

So early morning is a good time to capture the frenzy. It is common to see birds feeding on insects (including moths) that were attracted to light sources, the night before and had since been scattered on the ground. Look for such areas and you will be rewarded.

 

 

 

 

 

 

 

Porcupines mated only 3 seconds; Male Proboscis monkey suddenly decided to jump across (and over us) and the whole troop followed. Those with super loing telepho lenses can only agonize as it was over in minute (pix by Lee King Li).

Flying (gliding) lemurs and lizards are expected to take off from one tree trunk to another and so one must be prepared to imagine their path of travel, pre-focus, wait and hope for the best. After a few tries you will get what you want except it is uncommon to come across the creatures mentioned.

 

Once I was on a night vertebrate survey and discovered the figs were being eaten by bats and proceeded to wait in total darkness; firing away the flashes as the bats came to feed. It was difficult to pre-focus as the bats came from all directions. Without the use of infra-red remote controlled cameras, one has to be lucky to capture a sharp image

 

 

 

 

 

 

 

 

 

Bumble bee hovering in the morning; Fantail that kept twitchingit tail.

 

One has also be prepared for weather changes so as to water-proof equipment in quick time. During inter-tidal outings, one must be prepared to swim and any leakage to your equipment is an end to your trip and set you back thousands of dollars. In the rainforest, be prepared to stake out in the rain (they are not called rainforests for nothing)

PHOTOGRAPHY TIP #3 (8 May 2007)

TO FLASH OR NOT TO FLASH

Flash photography is tricky and often the image has a harsh effect to it. The secret would be how to give just enough light so that it does not overpower the image. The effect must be subtle enough to appear like ambient light just enough to light the subject under shadows.

 

 

 

 

With or without flash, both images are OK but there is a different feeling to it. Left image gives better color rendition and looks "fresher"because of the fill-in flash. Right image is taken with available light and the ambience seems more natural.

Modern equipment that integrates the camera and flash unit can create a fill-in effect that is desirable. Flash bounced off a ceiling (white) or with the use of diffuser options reduces the harsh effects of flash photography.

 

 

 

 

 

 

Flash removing the background clutter - with flash light enough to illuminate the foreground, the background is conveniently darkened and clutter kept from view. Black Lily was taken at common path of the BTNR but very few visitors noticed it as the flowers were rather dark.

Nocturnal photography is almost impossible without flash. Flash can improve the colour range of the subject (suppressed under low light situations) at the same time reducing camera shake by freezing motion. Usually images may appear sharp but when view at 100% may not necessary be sharp enough for use. Low light photography (without flash) must be carefully handled with tripod and shutter release or else the slightest movement will impair the image.

 

 

 

 

 

Reflections from perpendicular surfaces; low light preferred if subject can remain relatively still. This Spiny Hill tortoise was photographed in Central Catchment Area, Singapore

Use of flash will reduce the hand-shake when not using tripod. Colour temperatures in low-light conditions creates a bluish tint. Flash corrects this colour problem. With strong sunlight, harsh shadows can be created on subjects when under porous shade. Flash photography removes the speckled situation.

In the forest where the forest floor is usually under shade, use of reflectors will help cast more light on the subject but movable subjects (wildlife) will usually not sit still. Hence flashlight is the only choice. (A Long-tailed Macacaque was watching us photographing this insect at the BTNR. After we moved away, the Macaque descended from its vantage point to sccop the insect into its mouth. Which goes to show that one must be mindful for the saftey on the subject that one is photographing)!

It is OK to experiment both with flash and without flash. Either one may turn out the way you wanted.

However, one must be mindful of flash reflections from direct bounce back from surfaces at right angles to the camera (especially from glass walls and paintings/posters), water areas (rain-water on leaves, subject in water) and waxed surfaces (eg. leaves). However, flash effects on far objects are diminished and for near objects help to move background clutter.

 

 

 

 

 

Reflections one have to be mindful of. Subject submerged in water; wet or smooth leaves poses challenge to the photographer. Pix from Central Catchment

 

TIP #2 (22 March 2007)

GET CLOSER

 

 

 

pix from Danum Valley, Sabah

Get closer to the subject. Just when you thought you have the whole subject in your frame; you might now consider cropping more. In other words, get closer to the face and the eyes. Look at the patterns and texture. Get tighter. One trick is to zoom in on the image during Photoshop processing but because it is a manipulated cropped image, the image size is smaller and may not be sharp if one magnifies it for printing. Even for a double spread in a coffee-table book, the image on the left could be a choice but the right was chosen as it was more impactful.

pix from Christmas Island

But before you edge in closer, “insurance shots” come in handy. Take the shot before you move in closer; so that at least you have an image before the subject scrambles away. Nature does not pose for you nor does it wait for you. Move quietly, carefully avoiding the rustle of leaves under your feet; the interconnecting or overlapping plant branches that may disturb the object; use camouflage gear and move in controlled paces and if possible, carefully hiding oneself. The above shot on the right is more dramatic to the eye.

 

pix from Sabah

Close-up of the Atlas moth's antennae or even its wing colours can be interesting. The mouth of the carpet anemone is not only colourful; it also comes in different colours. Zooming in to the mouth makes sense. Foocus on the front end of the cicada for the menacing look.

Contrary to popular misconception, a recent bloom of the Rafflesia kethii has no smell.

However, one must respect the wildlife that you photograph. I remembered a fellow photographer who went too close to an agamid (large lizard) and had his fingers bitten when he tried to approach into its wide open throat. Stay away from nesting sites as birds have known to abandon their young when disturbed. get close but not too close.

 

TIP #1 (17 March 2007)

VERTICAL VS HORIZONTAL

pix taken from foothills of Mount Kinabalu, Sabah

Most cameras present to the user, the horizontal viewing format. The shutter release (unfortunately unfriendly to the left-handers) is ergonomically positioned for pressing in that format. More expensive models have or come with attachments for a “vertical grip” for a vertical viewing format. The reality is most magazines and journals come in the vertical format and hence vertical oriented images are preferred by designers. The above right image shows cropping a horizontal image to achieve a vertical image. This is only possible if there is a lot of leeway but more often than not, especially in macro images severe cropping occurs and limits the usage of the image.

 

Pix taken from Chek Jawa

For the above image it will be impossible to use a cropped vertical image. So as not to lose out in photographic deals, one must also remember to turn the camera around and capture the moments in the vertical format. In this format images are cropped further, so it necessary to move further backwards to include the whole image.

Photographing in vertical format increases your options in the design of books and magazines. Many posters also appear in vertical format. So do not let the camera limit you; just rotate the camera and suddenly your options are increased. Leaving some space on the top and bottom of the image allows text to be placed there. This is important when the image is used for the front cover of a magazine. More money is paid to photographers whose images appear on covers!!!

#1- Cover image: vertical shot of the endemic Red Crab between the trunks of two rainforest trees in Christmas Island.
#2 - Hawkmoth on leaf with veins to simlate the a fighter jet on a runway.
#3 - Grand Canyons