Showing posts with label Birds of Prey. Show all posts
Showing posts with label Birds of Prey. Show all posts

Tuesday, 7 July 2015

10 Ways To Improve Your Wildlife Photography


(Editor's Note: Thanks to Rick Andrews for this great blog article! If you've been following the OWC on Social Media, you'll know that the west is burning. People are in danger, but so are the animals. I read recently that many of those wildfires we are currently struggling to combat have been started by cigarette butts. I don't think you would treat your home the same way. So why are we so careless with our camping in their habitats? After all, we love our wild spaces, too. Here's how to get closer to the creatures who live and raise their families in the watershed.)

10 Ways to Improve your Wildlife Photography
by Rick Andrews



Over the past several years I've photographed wildlife in many locations throughout the Canadian and US Rockies, as well as remote locations such as Nome Alaska and Hokkaido Japan. Along the way I've met many wildlife photographers from those just starting out to seasoned veterans. In fact since the introduction of digital cameras, wildlife photography has never been as popular as it is today, so if you are one of those people who share my passion, here are a few tips to help improve your wildlife photography and keep you safe while doing it.


1. Anticipate the shot. Being ready for a photographic opportunity when it presents itself is half the battle. You don't want to be frantically searching for your camera or fumbling to try and figure out how to turn it on after spotting a roadside animal. It's always better to travel with your camera beside you or at least within easy reach, that way you're likely to end up with something more memorable than a "butt shot" of your subject as it heads back into the forest.




Brown-phase Black bear - Waterton Lakes NP

2. Be patient. Patience is probably the greatest asset a wildlife photographer can possess, and being patient and allowing animals to become accustomed to your presence often leads to far more natural shots.

3. Maintain a safe distance. Maintain a safe distance of 100 meters for bears and wolves, and 25 meters for other species. Mammals such as bison, moose, elk and bear can be very unpredictable, and can move surprisingly fast. This is especially true if they feel their young are being threatened, or during the fall when rutting males fiercely protect their harems.

4. Use your vehicle as a blind. Quite often a vehicle makes an excellent blind from which to photograph wildlife. In southern Alberta, birds of prey such as Swainson's hawks and Great Horned owls are often seen sitting atop roadside fence posts. Your chances of getting a close-up shot will be greatly enhanced if you photograph them from your vehicle.

​Great Horned Owl south of Lethbridge

5. Use a tripod. Although using tripods and monopods is sometimes a little clumsy, it will usually lead to better results than simply hand-holding your camera. Alternately you can also use any hard surface such as your vehicle or perhaps even a fallen tree trunk. This is especially true when using your camera's zoom lens which is very sensitive to even the slightest movement. Also practicing to gently squeeze the shutter button instead of deliberately pressing it, will further reduce unwanted camera shake. Be aware too that some cameras may have a slight lag between the time the shutter is depressed and when the photo is actually taken. Keeping the camera absolutely still is therefore essential to get the sharpest image possible.

6. Include habitat. A close-up shot of an animal may make for a great portrait, but it tells us very little else about it. So after you've got your close ups, try a few shots that also include some of its habitat. That way your viewers can see not only what the animal looks like, but where it lives and feeds too.

7. Rule of thirds. The "rule of thirds" divides the image frame into thirds both horizontally and vertically, and positioning the animal at the intersection of two of those lines will create visual interest by strengthening your image. (Some cameras even include this feature in the viewfinder or LCD screen).  Just remember to give your subject room to breathe by framing it so that the animal is looking into the frame, rather than having its face pushed up against the edge.  To create further interest, try composing some of your shots in a portrait orientation. 




Rule of thirds Composition


8. Action shots - While its relatively easy to take shots of stationary animals and birds, try further developing your skills by capturing images of them in motion. Birds in flight are a great place to begin, and while it may take a little practice, it can soon lead to some great results.



American White Pelican - Oldman River, Lethbridge

9. Look for the unusual. While in Waterton Lakes NP earlier this year, I found a Bighorn ram being pestered by a couple of magpies. As I watched, one of the magpies landed on the horns of the ram, and as it lifted its head I was able to take this somewhat unusual and amusing shot. Again it pays to anticipate this kind of shot so that you're ready if the opportunity arises.



Bighorn and Magpies, Waterton Lakes NP


10. Look for wildlife where you live. We often think that in order to take good wildlife shots we need to go "somewhere." But in reality wildlife is all around us here in southern Alberta, and finding wildlife close to where you live, will provide you with many opportunities to photograph them at different times of day, and in different light. For some of us, that opportunity is already available - literally - in our own backyards.




Black-capped Chickadee, Lethbridge



Lastly, a word about ethics. As wildlife photographers we should understand that wildlife photography is really all about the wildlife and not the photograph. Needlessly stressing animals or baiting them with food simply to get a shot, is in my opinion, not only unethical, but can also put wildlife, as well as ourselves, in very real danger.

Being attacked by a charging animal because we are too close can lead to serious injury or worse, and regardless of how the attack happened, it usually ends badly for the animal. Likewise animals that become habituated to people, often become a nuisance. The lucky ones are sometimes relocated, the unlucky ones are sometimes destroyed. Surely the life of an animal is worth much more than a photograph.


Rick Andrews is wildlife photographer based in Lethbridge, Alberta, and all of his images featured in this blogpost were taken in the Oldman Watershed.

More of Rick's wildlife imagery can be found at www.rickandrewsphotography.com

Saturday, 21 March 2015

How Napi Helped Find the Oldman a Face in time for World Water Day

(Editor's note: Tomorrow, March 22nd is WORLD WATER DAY. What better occasion to release 'the NEW Oldman'? Please pardon me for going on about this from a number of angles historic, philosphical, cultural and artistic - but this has been an image over a year in the making. We sure like it - we hope you do, too.)

Central to Communications and Outreach for the OWC is the invention of a new visual branding element - not a new logo, but something we can use in addition to our current logo - an image that immediately conveys who we are to the public at large.

There are a lot of perspectives to consider. For one thing, the OWC is now 10 years old, and the three blue letters in the current logo are instantly recognized by anyone familiar with our organization. But what about attracting a new demographic? Anyone unfamiliar with us isn't able to tell what our purpose is from that simple abbreviation.

A strong logo reflects an organization's values and embodies its goals. A tall order for a simple drawing, perhaps – but look at how powerful the Nike "Swoosh" is; or the Mercedes "Star". Those symbols have become synonymous with the organization itself.

Looking around at other environmental organizations, it seemed fairly straightforward: a mountain in the background, a stream running to the foreground, and a couple of evergreens to the side. But how would anyone distinguish us from countless other "conservation", "outdoor" or "water" non-profits? Clearly, we needed something unique.

In fact, the uniqueness of the Oldman Watershed is what has inspired this design. We have not only a great diversity in geography and flora and fauna, but a diversity of ethnicities and industries as well. Our watershed begins in some of the most beautiful mountains in the world, and travels out to rich grasslands – also one of the driest, flattest places in Canada.

Perhaps our biggest challenge, however, was embodied in the name "Oldman" itself. It practically begs anthropomorphization. According to many First Nations' accounts, the Oldman refers to "Napi", the Trickster, who the Creator tasked with making the Earth and its creatures.  We couldn't use just any old man - and we needed to realize fully the implications for honouring First Nations.  Our Oldman needed to embrace people of all cultures while still harkening back to his aboriginal roots.

Dan Wilton of Wilton & Wark had been awarded our RFP for web design and put his creative talents to work based on our sketches. He created an initial image based on the archetypal "Green Man" – a kind of nature spirit common to many aboriginal and early western cultures. We agreed that we needed a "Green-Blue Man" – a figure that would emphasize more clearly the natural connection to water.

What a great segue into the concept of a watershed! One of the OWC's greatest challenges is communicating to people what, exactly, a watershed is. The notion that what happens on the land is fundamental to both water quality and quantity is something we are constantly struggling with. Dan took the central role of trees to heart and depicted clearly how everything from the canopy to the root system is integral to watershed health.

The design is thus divisible horizontally in that everything above the eyes is terrestrial, and everything below it, aquatic. 

Still, something was missing. We sent the image around to a focus group consisting of scientists, journalists, students, seniors, artists and communications professionals. It seemed to pass the test with flying colours – but not with the First Nations' representatives in the group. "Where are the animals?" they asked. Good question.

On this basis, we decided to drill deeper into the symbolism and I worked hard with the OWC team and our intern, Jayme Cabrera Lopez (an ace at Photoshop!), to develop the image further. It was natural to include fish – not just any fish – but the West Slope Cutthroat Trout that are both endangered and an indicator species in our watershed.

In terms of following best design practice, I insisted that our Oldman include a visual double entendre. "Hidden" in the tree canopy, there is a clever interpretation of another nearly extinct species - the Plains Bison. The design requires you to look – and look again, while still being instantly recognizable as pertaining to a conservation organization. We took care to ensure that the image was symmetrical, with the left half mirroring the right.

But how to finish the design? It wasn't coming together properly in the all-important "third-eye" area of our Green-Blue Man. We had the water, the land … but I realized we were missing the element of air: the celestial realm. Again, not just anything would do. An eagle – a solitary eagle – was needed to crown the image. After all, "Napi's Playground" up in the headwaters contains "The Place of Eagles" where thousands of golden eagles migrate to, up the crest of the Livingston Range each year. It was a fitting final touch.

The image swirls below with rounded, organic shapes that invoke images of water, moves the eye up to the delicate leaf patterns and more abstract formations, and further up into the more geometric branches and mountains.

Heartfelt thanks to Kyle Dodgson of Tinker Inc. for conjuring the perfect colour palette to match the vision. Colour carries meanings and communicates ideas.  In this regard, we have been pretty clear about the traditional use of green and blue, while also including the distinctive, firey red strip under the throat of the West Slope Cutthroat Trout. The Oldman's eyes are warm and brown – just as those of the Blackfoot Napi would be. Like any great logo, it is still very versatile and functions well in grayscale. We can simplify it for use on a small scale – or we can use it in full detail for large posters. It is going to be a great teaching tool for both children and adults. 

Best of all, this is a design that we developed ourselves. It won't get old and it won't fall out of fashion. It's ownable and uniquely recognizable. It can work with or without the current blue OWC lettering, much like the "Coke" bottle cap is an additional symbol to the traditional "Coca-Cola" lettering.

Corporate logos have been with us for a while now. The Nike "Swoosh" is often touted as the best example of a great logo: simple, successful and speedy. Think about that for a minute, though. When that logo was invented it was 1971. We were just ramping up the consumer identity and the advent of the computer increased exponentially our ability to gather intelligence about who was buying what.

Arguably, logos first hit the scene in Ancient Greece when rulers used cipher as a monogram on their coins. In the Renaissance, tradesmen used some kind of mark-pressing on their crafts (sometimes as simple as a thumbprint pressed into pottery). But it wasn't until the turn of the last century that "fancy script" became popular as an identifying ideogram (think: Coca-Cola). The "ad men" of the 50's that we have heard so much about (see the TV series 'Mad Men', for example) really set the stage for the corporatization of the logo in the '70s. Most of the major brands came out with their final logo iterations then.

Is the Oldman corporate? Is the OWC a profit machine? Is a watershed, perhaps, a little more complex than the goddess Nike's simple message of speed? Natural processes are slow and hard to quantify. Stakeholders in the watershed would seem the antithesis of corporate shareholders. In fact, watershed management and health could be said to be at odds with commodification in many ways. 
There appears to be a universal yearning for some kind of offline authenticity and a deep search for connection to what makes us human. We want to become reacquainted with a spellbinding narrative that involves values and ethics and care apart from naked commercial value. Our design thus asks you to look, look again, reflect, and act. 

But wait …. there is one more, all-important, element hidden in the design. 
What do you see?

According to Blackfoot legend, Napi is a Trickster, a shape-shifter; at once a fish, a rock, a tree. Embodied in all the elements and all the creatures, Napi is everywhere.  Thank you to our First Nations for reminding us of the wholistic perspective necessary to understand humans - and all living things - in the watershed. Thanks in particular go to William Singer, Lori Brave Rock, Randall Wolftail and Stanley Knowlton - and all the Elders with whom they consulted, for their help, advice and gentle teaching - in developing this image.

HAPPY WORLD WATER DAY!


Wednesday, 4 March 2015

Looking northwest, into the face of time

(Editor's note: Believe it or not, Spring IS coming ... and with it, the time of nestlings, hatchlings and nature babies of all kinds. Thanks, David, for reminding us of these quiet spaces that need our care and attention.)

 Looking northwest, into the face of time

by David McIntyre

The view looks northwest across the Rock Creek valley toward the serrated edge of Alberta's Livingstone Range, a Crown of the Continent-featured landmark. This Oldman Watershed headwaters landscape has no meaningful protection. It remains under threat from potential strip-mining, clear-cut logging and overhead transmission lines. Any of these industrial activities, if realized, would forever scar the land's intrinsic beauty, degrade its ecological integrity and destroy its internationally acclaimed aesthetic virtue. It's this last value that's repeatedly taken the Livingstone Range to Hollywood movie stardom, and created the cachet for its appearance in a 
Remember to Breathe Alberta tourism video.  

When my grandparents were born, the pictured landscape supported herds of buffalo.

When my parents were born, people living here saw their first automobile.

During more recent years, this landscape has emerged as Canada's supreme sailplane soaring site. 

Just 14 years ago the same mountain range was discovered to be the flight path for the world's greatest concentration of migrating golden eagles. More than 5,000 of these majestic birds have soared through the pictured view during a single autumn migration.

Within the past few years, threatened pure-strain westslope cutthroat trout have been found here.

The showcased landscape is also a virtual Serengeti. It supports herds of deer, mountain goats, bighorn sheep, elk and moose. It's carpeted with rare rough fescue grasslands. It's home to endangered forests of limber and whitebark pine.

I've seen a wealth of wildlife—including cougars, wolves and grizzlies—within the featured view, which reveals a crossroads of land-managing jurisdictions. Here, on the eastern flanks of the Livingstone Range (public land), the MD of Pincher Creek meets the MD of Ranchland and the Municipality of Crowsnest Pass.

This landscape, today, is under more industrial threats than you can imagine. None would appear to offer any significant economic virtue, or benefit to society as a whole. Each and every one, if permitted, would degrade a geotourism product that Alberta markets internationally.

What's to become of Alberta's remaining heritage landscapes? What will my grandchildren—and yours—have as a meaningful remnant of today's drop-dead-gorgeous vistas?

What can you do to protect the last of the best of this province's heritage forests and rangelands? Some of you can buy—and preserve—vanishing viewscapes, or create conservation easements that offer protection. Most of you can support organizations and groups working to protect Alberta's remaining native grasslands and isolated pockets of headwaters integrity. Everyone can speak their mind to their elected representatives. 

Premier Prentice said this: "If we're serious about becoming a global leader in energy, then we need to become a global leader in environmental performance. Under my leadership, we will establish Alberta as a world leader in the advancement of conservation and the protection of the environment."

Thank you, Premier Prentice. Today's the day to walk the talk.

The Livingstone Range, known to the Piikani as Piitstaistakis (Place of the Eagles), is public land that needs your help. It needs it today. Tomorrow may be too late.


David McIntyre
Crowsnest Pass, AB  




Thursday, 17 July 2014

(Editor's note: This post was submitted by someone who wished to remain anonymous. I have edited for style and added some supplementary information at the end)



I wonder if my experience of yesterday would be of interest to Oldman Council readers. Perhaps it will help reduce incidents like it, who knows. I live in the city and grew up in an even bigger city. I don't know the names of birds, but the one I hit yesterday was big and I knew it must have been a bird of prey. This was on a 2-lane, secondary highway not far from the city. I saw him swoop down onto my lane and slowed down. Usually, birds fly away as you approach. My aunt rolled her car once swerving for a duck, though. At the last minute, he (?) swooped up, but not at the speed I anticipated. It made a huge noise. 

Trying to pull over without getting rear-ended, I was him wobble off to a fence post. Emergency lights blinking, I crawled along beside him as he struggled through the grass and then made it up to a fence post again. I kept following until he alighted on a telephone pole next to a farmer's yard. I got out and rang the doorbell. I don't know why I thought they could help, but I felt that good people would want to know there was an injured bird on their property. The mother of several sent out her eldest son - a sweet, shy, shining, red head of about 15. The bird was still in the same place. 

What my hawk looked like: A Swainson's Hawk 


"It's a hawk!" he said. "And probably a young one without enough sense yet to deal with the highway."
 I felt worse, and so I should have. "Well, if he's up there, then he'll probably be all right. If they lose too much blood, they can't fly." I silently sent up prayerful thanks. "Look!" The boy continued. "He's flying to the next pole - and there's one of those nasty blackbirds out to chase him away!" I was amazed at the boy's knowledge. I asked him: "That little bird ... is going to 
chase away a hawk?!" "Oh yes" he said. They're mean little things." I only know that if I walk along one of the local canals that I can hear their beautiful song. It's probably one of the few birds (other than a crow or magpie) that I can actually identify.

The boy pointed at my car. "Where did you hit him?" I stared at him blankly. I thought;  Like, on the car!! You know ... front, boom! "Well, I don't know", I said, approaching my bumper. "Probably right about .....!!!!" There was blood and guts all over the bumper. I'm freaking out left, right and centre and I'm sure the boy was thinking: "So THAT'S what city slickers are like!". "How can he LIIIIVE?!!!" I screech. "Oh, he'll probably be okay", the boy reassured me. "I'll call the local Birds of Prey". I marvel at how different our worlds are, this boy's and mine ... what he all knows at 15 that I can barely understand. I drive through the countryside, but do not see what's in it.

This photo depicts a magpie harassing an owl, but my wounded hawk flew up to the top of the pole just like this.


I feel like *#%# about it - and I hope the hawk is alive to feel the same. Better a smashing headache than dead. He literally got some sense knocked into him. But what about me?

 We have too many cars, roads and drive too fast. I was going 20km under the speed limit and 40km slower than my usual. 

Roads, rails, pipelines, telephone wires, seismic lines ... are called "linear disturbances", and are one of the main threats to wildlife. Clearly. Many are unnecessary and some could be reclaimed if we actually made it a priority. The OWC is working on classifying linear features for just this purpose - reclamation. 

Yet the plan for Alberta's countryside over the next 50 years is to populate yet more of our wild spaces, partcularly in the SW of the province.  This means more people  drawing wells, building roads into their properties, most tying into the grid, all driving at least 2 or more vehicles. Most people will be fleeing the cities and many will be novices regarding land stewardship.

Please see:   OWC Headwaters Indicator Project   for the science on linear features

Please also see: Simulation of Alberta to 2050 

And thanks to: Birds of Prey Centre for all they do.