Bobcats: An essay in photos


Bobcat stalking towards me along the shores of Tomales Bay. My kayak was beached at the time.

Over the years I have come across many bobcats. The most meanigful encounters I have had were while kayaking. Most of my photographs of bobcats were taken in the Point Reyes National Seashore. Here are some of those images-

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And here is a little information about bobcats-

The bobcat, aka Lynx rufus, is one of the wildcats we have here in California, in fact among the twelve recognized subspecies, there is one native to the California area west of the Sierra Nevada- californicus. It may be the most common wildcat here in the U.S. of A., although it is largely nonexistent in the midwest. It prefers scrub, broken forest, and rocky and/or bushy grasslands, and will hang out a little in farmland type country. Which makes California, and especially the Bay Area, a pretty groovy zone for it.

It likely got its name from its “bobbed” tail, which is black at the tip, and white underneath. A lynx’s tail by comparison is black at the tip, and black underneath. There is often distinct banding or spotting on the upper legs, and a broken pattern of grays, blacks and whites on the face. They are shorter legged and shorter haired than the lynx (Lynx lynx.) The black tufting at the ears is usually less noticeable, all though still present than those found on the lynx.  Males are larger than females. Average sizes are 28-49 inches, and 15-30 pounds.

Largely a solitary animal they mostly come together for the purposes of getting it on. The males can be sexually active year round, but the females generally only go into heat for the months of February or March. The cats mate through a series of fake hunting and chasing games.

Usually two to three (although up to seven,) cubs are born in late April to early May, covered in spotted fur. They are born in a special natal den (bobcats will often have a few different minor dens through out their territory.) They begin to move about and explore when they are about a month old, and are weaned by the time they reach their second month. They learn to hunt quite young, but usually stay with mom for the first year.

What don’t they eat. It seems like if its warm blooded and moving, they’ll eat it, although they will also eat carrion when food is scarce. Smaller animals such as rats, mice, and shrews, it will often sit very still for and pounce on them as they walk by. Larger animals such as rabbits, woodchucks, and squirrels, it will chase more actively. It will also eat opossum, raccoons, birds, cats, foxes, porcupines, and skunks. Rarely it will take down a deer, but it prefers to go after the young, or else adults when they are in snow and can’t move as freely, or else while they are bedded down to sleep. They will also go after livestock, especially poultry.

Most of this information was from the National Audobon Society Field Guide to North American Mammals, John O. Whitaker, Jr. It was however put into my own words and has my own spin on things.

Enjoy

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Anatomy of a photo #16: Morning lily pads


Early morning picture of lily pads on a pond

I made this image in my early days of digital photography, before I knew all the ins and outs of modern cameras. It didn’t really matter though, as many things such as exposure, compensating for bright light, focus, composition- all of these can transcend whether the camera is digital or film, SLR or otherwise.

Early mornings are a fantastic time for light. Warmer richer tones can be found in the morning and evening, often times an hour either side of the sun rising or setting being the best. The next part is to find a place to make use of that light. The final part is to compose and expose.

Composition and exposure can be a matter of personal expression to some degree, but there are some tips that can often be helpful. Try not to put the focal point at the exact center of the image. Have points of interest (but not too many points) off center so that the eye will move around the photograph more.

For exposures, under exposing just a little can often give deeper, richer colors when you are looking towards the sun or the source of light. Also, if you have the sun in the photograph, it will often help to under expose even more, or else yo will have a giant white blob expanding out from the sun (an area where the picture is way over exposed).

This picture I underexposed by a third of a stop. The sun wasn’t as overly bright as it could have been, because it was dimmed by the fog. I used a wide angle lens- 18mm, to help elongate the image, with the lily pads being much larger closer to me, and the pond stretching off into the mists.

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Anatomy of a photo #15: Frosted fence


Notice the very shallow depth of field

This early morning picture of a frosted fence illustrates the affect that aperture can have on a photograph. The closer you focus to where you are standing, the shallower your depth of field will be. For this photo I had my aperture as wide as it would go (f 4.0) with the lens I was using (70 mm). This medium long lens, mixed with the very wide aperture give the image an especially shallow depth of field.

If I was farther from the point I was focusing on, more of the fence would be in focus. Likewise, if I stopped down the aperture somewhat- even to f 8.0 or 12, you would notice a fair difference in how much more would be focused.

I placed that focal point off center. I also found a spot where the fence had a slight bend. Imperfections such as slight curves can be more interesting than straight lines. They can lead the eye around the picture instead of just along a single line.

For exposure, I am almost overexposed on the sunlit sky (it is only a hair from being burned out), but almost underexposed everywhere else. My camera’s exposure meter actually says I was overexposed by .7 of a stop, but that is because of the false reading from the brightness of the sky. The exposure meter doesn’t lie, but it can be wrong, because it isn’t always reading on what we want it to.

Enjoy.

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Anatomy of a photo #14: Three Willits in pickleweed


Even though these are birds, it is still a portrait

As I look through my photographs of animal images, I notice more and more that there are two main lighting conditions that most of my favorite portraits were taken in- early/late low angle sun, or else while the subject was in a large shadow. The low angle sun adds warmth and dramatic lighting, while shadow (often because of cloud or fog, but sometimes from time of day and location) adds a moody, even lighting and provides for great detail without losing much to highlights and deep shadows.

I made this image while kayaking Drake’s Estero on a foggy day. The even lighting gives the birds great detail. I used a fairly long lens for this portrait- 300mm plus a 1.4x magnifier. Since I was on a kayak, I had to hand hold this shot, which means I was shooting at the highest shutter speed I could without losing image quality. My ISO was 400 (the highest the camera I was using could do without noticeable noise) and my aperture was wide open at f 5.6. This allowed me a shutter speed of 400. With the lenses I was using, (they were image stabilizing) I might have tried dropping down to 200, but I know I would have lost some of the images I took to camera shake.

The shallow depth of field I was using worked very well for isolating the focus to the birds and a little of the pickleweed plant they are standing in. This is something I often like to do with portraits regardless, because it draws the viewers focus very strongly to the subjects. I also placed the heads and eyes in the top section of the picture, rather than along a line cutting through the center of the image when I composed the image. It gives it a more comfortable feel, and helps to fill the entire frame of the picture.

The composition is helped additionally by the low angle I took the picture from. I hunched down extra low in the kayak to be a little closer to eye level with the birds. When ever possible I like to be at or near the eye level of my subjects, be they birds, wild animals, livestock, or even little kids. It is hard to make a portrait when you are looking down at the top of somethings head instead of engaging the eyes.

Enjoy.

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Now in italiano


I will now be posting my blog in Italian as well as English and Spanish. To read the blog in Italian visit here.

Adesso, il mio blog stara nel italiano. Per leggerli devi visitare qui.

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Anatomy of a photo #13: Sunlit waves


Sunlit waves at Dillon Beach

This image highlights the importance of being willing to head out for pictures no matter what the weather… or even because of bad weather. I took this picture during a break in a storm at a nearby beach. The day was crappy, the light was blah, but often on these sorts of days you can get a break in the clouds that can add some interesting effects. This was one of those days. A shaft of sunlight came down from the sun as it was lowering in the sky, hitting the backs of these waves.

I made sure my shutter speed was fast enough to mostly freeze the waves (there is a little blurring of some of the spray, which helps to add a little bit of movement to the image). The exposure was set to give the spray on the backs of the waves a nice golden glow, without overexposing them (something that would be easy to do with everything else in the picture being a little bit on the darker side). I had my camera on manual exposure settings to do this, but it also could have been done with a cameras exposure compensation values, putting them into the negative by about two-thirds of a stop.

For lenses I used a 70-200mm, zoomed out to 104mm. I wanted good detail on the waves, but to show enough background to give the waves a sense of place. I’ve taken many pictures zoomed in on waves and showing just the wave, but after a while these get a little boring without having a wider context or something else of interest in them. The medium focal length also increases the depth of field more than what the 200mm would have given, making the background more in focus. If I had been zoomed in closer, everything farther from the rock and waves would have been more blurred out, losing some of that sense of location.

I think that is most of the nitty gritty. Enjoy.

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Anatomy of a photo #12: Lava tube II: Scale


This lava tube was much more difficult to photograph, because of the scale

This lava tube was a great contrast to Valentine’s, both in scale, and what I had to do to take a picture that made sense. If you look at yesterday’s post you will notice from visual clues such as the stairs, that Valentine’s is a close, narrow tunnel (at times I had to duck while walking through it). Today’s lava tube- Skull Cave- is vast. Notice the small red dot in the foreground. That is a tall man wearing a red jacket. I purposely included him to give this cave a sense of scale.

This was the difficulty of this image. Finding visual clues that give this cave a sense of scale, of its grand dimensions. This was made especially difficult by the fact that I visited these lava tubes in the middle of winter, when there are very, very few visitors. I had already spent considerable time trying to photograph this lava tube to give it a sense of size, but I was alone, and the distances involved made it impractical to use the timer on my camera. I could not run fast enough over this rocky ground.

Finally I saw a family visiting the lava tube. By this time, I was some distance away, having shelved the idea of getting a sense of scale. I hurried towards the entrance, but the group had already hiked into the darkness. I settled down to wait. It took them half an hour to return.

Luckily this had given me time to choose a vantage (which was not easy, as the terrain was a jumble of very large boulders) and to adjust my camera settings to an exposure and aperture that I liked. I took several images as they walked out, but the dad was the only one wearing bright colors. This means he was best at capturing the eye to help give the picture a sense of scale. Some of the pictures with more people did a little better at giving the dimensions of the cave, but the people weren’t as noticeable in the size of photograph that this blog allows. (Which is another important thing to factor in when scaling your images- how big will the image you are looking at be when it is viewed later. Will the visual clues you are including be big enough to catch the eye to give the object scale?)

For more on Lava Beds National Monument you can try reading this.

Happy shooting,

Galen

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Anatomy of a photo #11: Lava tube I: Temperature


After walking a distance into the Valentine's Cave, I turned back and took this image

I took this picture for a micro travel piece that I knew I would be writing. This is one of several lava tubes that you can explore in Lava Beds National Monument near the border of Oregon and California (eastern side).

This photograph, while close to what I had envisioned, is not entirely what I intended. I knew that some parts of the photo would be lost to shadows, while others were lost to the brightness of the outside world. What I had not anticipated was the soft edge, almost haziness, to the edges of the bright areas.

Once I began taking pictures, the problem became obvious- the lens was fogging up, and rather quickly. To explain why, let me tell you a little about some of the lava tubes in what is now one of my favorite national parks…

Exciting for its exposed geological history, Lava Beds is riddle with lava tubes. Yes, these are really tunnels in the ground that lava once flowed through, but are no longer volcanically active. There are many, many different tubes throughout the park, some of them winding a quarter of a mile or more. With headlamps and hardhats, you can actually wander through these tubes, giving yourself your own tour. There are maps or you can join a guided tour.

Some of these lava tubes are shaped in such a way, that the air cycles through in a very slow fashion. In summer time, the tubes still have much of the winter’s air in them. This means that while it is 90 to 100 degrees outside it can be forty or fifty degrees inside, or in some of the caves below freezing (a few of the lava tubes have ice year round). In Valentine’s Cave, where this picture was taken, the air is on a six month exchange cycle. When I visited it was the end of December, and 20 to 30 degrees outside the cave. When I entered the cave, it was still summer inside… The air was probably 60 degrees, a very large jump upward in temperature. I was bundled up, and had to remove layers.

From a photographic standpoint this creates a very tricky situation. Imagine if you will a glass of ice water on a warm summers day. When first filled, the outside of the glass is dry, but very quickly droplets start to collect, until water runs down the outside of the glass, and it is sitting in a small pool of water. Well, my camera was that cold, cold glass from having been outside for several hours, and now it was finding itself in a warm summers day.

Disaster. Almost. I was able to get a few shots off, and I rather like the softness around the harsh outside light. It gives the image a fun feel. Not something I would purposely try to do, especially as it is very risky to the camera. Just as water was condensing on the lens, so to was it condensing on other cold parts inside the camera. When going through extreme temperature changes it is recommended to put your camera and gear into sealed bags with all the air sucked out and to allow them to adjust to the temperature change gradually, rather than all at once. (Bundle them in a jacket or a blanket, so that they are partially insulated.)

So when playing with your camera, be careful of sudden temperature changes. They can’t always be planned for (I had no idea about the air cycles of the caves), but try to make the most of them and to protect your equipment when you do find yourself in a situation like this.

For my post on the trouble of finding scale in a lava tube

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Anatomy of a photo #10: Freezing the flow of water in an image: Gull and crab claw


Notice how the water streaming down from the crab's leg looks solid? Frozen in time?

This post relates to the importance of shutter speed. A fast shutter speed can freeze action, making something like water appear solid- almost like crystal or an ice sculpture. The picture above for example was taken with a shutterspeed of 1/800th of a second. This was fast enough to freeze the water streaming from a crabs leg.

Similar effects can be obtained for children aging in sprinklers, dogs splashing through water, droplets on a bird or seal as it surfaces from diving, and much more. On the opposite side of the spectrum, you can slow the flow of water down to take out the details and turn it into something soft and velvety (this is a favorite for people to do to waterfalls and rapids).

Other details on how this photograph was created… A long lens was used- approximately 420 mm. This allowed me to be close enougtj that I didn’t disturb the full in it’s behavior. It also compressed the depth of field, so that when I used a wide aperture the background is somewhat blurred out, drawing the viewers attention more strongly to the gull

The image was made on a foggy day- perfect for all around detail, with very little lost to deep shadows or over exposure. Trickier though in that I had to up my ISO, risking a little more noise in the image.

Tha image was taken while I was kayaking. I used an image stabilized lens, since it was such a long focal length. Tripods are counter productive on a kayak, a the image stablization helps just enough when inbabe to use slightly lower shutter speeds because of lighting.

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Anatomy of a photo #9:Harbor Seal portrait


Harbor Seal portrait

I captured this image the first time I took my dad kayaking. It was early one afternoon in Tomales Bay, when the winds were calm. While I have seen many seals on the bay, we were lucky on this day with how many were surfacing around us, and how closely.

We didn’t try to approach any of them, but rather chose a course and paddled straight. I’ve found the best way to get close to seals is not to approach them, but to let them approach me. They are curious but shy. They love surfacing behind kayaks for example, so they can watch without being seen.

I had already taken some test shots with my camera to make sure that my exposures were close to what I wanted. With water this can be especially important, since there is so much extra light reflected, that things don’t always expose quite how you expect often times it will become necessary to compensate your camera’s settings.

I used a longer lens for this photograph, 300mm with a 1.4x booster, to keep a respectful distance from the seals. There was a hood on the lens to keep sun and reflected light from the glass at the front of the lens. A hood is especially helpful when kayaking to keep stray water droplets from confusing the autofocus. (For more tips on wildlife photography while kayaking visit here.)

I made sure to focus on the eyes. I did this by having moved my autofocus point to the side of my camera, instead of just using the default focus location.

The near lack of winds is why the water is so reflective. If you will be photographing water, wind can play a huge role in the appearance of that water, so pay attention to the weather.

For more tips on photographing seals while on the water read Seeing and photographing seals when kayaking

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Now en espanol


I am branching out… sort of. I am experimenting with a version of this blog in Spanish. Any native speakers out there, please give me your opinions. I am using translation software to help me out, as my technical Spanish is a little weak.

The site in Spanish is <a href=”http://galenoleeds.wordpress.com/”>here</a&gt;

Enjoy,

Galen

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Anatomy of a photo #8: Morning calf and fence


I really like this picture, but it is not technically perfect

This is not one of the technically best images, as there are highlights in the calves face that are blown out (detail is lost in the white, because it is a little overexposed). Also, the calves face is more centered than what most photographers would recommend. It is however an image that I rather like.

It is the calf, and it’s expression- both of body and face- that make this picture work despite it’s technical flaws. Part of that expression comes from different elements of the image. The strand of barbed wire curling in the image. The low angle of the incoming light striking the side of the calves face, the warm morning color of the light…

I used a 70-200 mm lens on this image. I exposed more for the shadowed parts of the calf, since exposing for the white parts in the sun would have u derexposed the rest of the age so much that it would nearly have been a silhouette.

Yet another early morning picture. You can tell by the low angle of the light, how it is hitting the calf all from one side, and not from above. This helps give warmer colors to the image. There is a hood on the camera lens to keep light from the sun, which was nearly at 90 degrees to me, fr hitting the lens and causing unsightly flares.

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