NATURE IN FOCUS

New Zealand Listener, Volume 20, Issue 495, 17 December 1948, Page 32

NATURE IN FOCUS

CUMMER holidays usually bring an increase in the number of amateur |

ry photographers. Pe for thone who hope to take successful nature studies, i

WILL

PARKINSON

, @ keen photographer of wild life since boyhood, |}

had some practical advice, born of long experience in several countries, to jf

offer listeners to his talk "Nature Through the Camera," given from 1YA_ |]

at the beginning of this month. Here, in. slightly condensed form, we print jf

the talk and two photographs taken by the speaker TD

went to ‘live in a remote feudal village in the North Riding of Yorkshire. I learned to see and recognise the various signs and tracks of the denizens of the woods, fields, streams and moors. This knowledge I consider is essential to wild life photography. The next essential is infinite patience, and this I cannot stress too much, even though luck sometimes does enable one to get a picture. A GOOD many years ago I It is important to learn to move quietly, and to beware of dry sticks. The -eracking of one of these by a carelessly placed foot is heard over a wide area. When approaching your object move so slowly that your movement is imperceptible, Many wild animals can scent you half a mile away; so approach them ‘when what wind there may be is coming from them. At the slightest sign "of alatfm stand quite still and do not ‘move again for some considerable time. Try and avoid letting your figure appear silhouetted against the sky for although you may be perfectly still some of the shyer mammals will recognise, even in semi-darkness, any change ‘in the contour of a bank or wall near their home. A camera that can go focussed is essential, especially for the smaller creatures. I have used many types, from the cumbersome half-plate stand camera to the miniature. The .one I liked best was a qvarter-plate reflex with a specially fitted lens. On the other hand two of my friends prefer the 35 mm. miniature. Nowadays I use a 21% inch square reflex. But the important thing is to get used to your camera. "Learn its possibilities and its limitations, When you are going tramping and weight is a consideration there ‘is much to be said for the miniature. Films are light and it is easy to carry extra lenses. I know that the cost of a good miniature may be a consideration. However, once you have embarked on

this work, you bik find yourself * making changes from camera to camera till you have finally found the one that suits you best. I think it wise to use a camera stand whenever possible, as exposures sometimes may be prolonged. A ball and socket head is a useful adjunct, especially when working in a cramped space _ in. a "hide," which is necessary when photographing some of the shyer birds or animals. The kind of shelter you usé — depends on the animal or bird that you are going to photograph. For a bird on a nest or feeding its young all that may be required is a fence made by driving a number of sticks about five feet long into the ground and then weaving branches through them. A hole large enough for the camera to "see" through should be left, After erecting the hide, some days should elapse before attempting any photography so that the birds have become used to it and are unafraid. This was the type of hide I used to photograph wild ducks. I went to the shelter almost every day for three weeks-which will make you realise what I meant when I said that (continued on next page)

(continued from previous page) infinite patience is required if success: is to be achieved. Some birds do not seem tc be able to count, so it is a good plan to take a companion with you to your hide, and then when you are comfortably fixed, get your companion to walk away and the birds will soon return to their nests. One well-known _ bird photographer always took his wife with him and when he was settled in his hide she walked away holding his coat and hat at,arm’s length as if he was with her. This made the deception of the birds certain. For some birds, especially those which build in open places like moors or on beaches a more elaborate shelter is necessary, so that the. cameraman is completely hidden. Cut four stout

sticks and drive them into the ground about four feet apart to form a square. Then tie four shorter sticks at the tops at each corner, thereby providing a frame over which to place a large canvas either dark green or dark khaki in colour. Peg it to the ground so that it will not flap about if there is any wind, and cover as naturally as possible, with branches, heather or bracken, but taking care that the hole for the lens of the camera is not obscured. Then leave the shelter in position for a few days so that the "victims" get accustomed to it. If you are*going to do much of this’ kind of photography, it is a good plan) to make at home a collapsible frame. and cover which you can quickly erect) whenever you want it. And as you may have to spend some hours at a time in your hide it is necessary that you make yourself as comfortable as possible. A light folding stool with a back is inyaluable, for you must be quite steady when about to make the exposure. Use fast panchromatic films and for correct colour rendering it is well to use a filter. Never forget your skyshade. And finally, do not leave traces of your visit, otherwise. someone with less consideration may come along and destroy the creatures you were photographing.