Text and photos copyright ©2008 by Paul Burwell unless otherwise indicated Second Edition

All rights reserved. No part of this book may be reproduced in any form by any electronic, mechanical or digital means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages.

National Library of Canada-in-Publication Data Burwell, Paul, 1965Triple D Game Farm, Photography Tips, Tricks and Techniques / Paul Burwell 2nd ed.

ISBN 978-0-9809976-0-6

Book design by Paul Burwell

Published by Prairie Slough Publishing, 410 - 16035 132 St. NW, Edmonton, AB T6V 0B4

Distributed by Prairie Slough Publishing, 410 - 16035 132 St. NW, Edmonton, AB T6V 0B4

Printed in the United States of America by PrintPelican.com

10 9 8 7 6 5 4 3 2 1 Triple D Tips, Tricks and Techniques

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Table of Contents Introduction — 4

Getting There — 5 Accommodations — 5 Triple D Guest Cabin — 5 Kalispell Area Hotels — 6 Kalispell Area Camping — 6

Equipment Considerations — 7 Photography Gear — 7

Winter Photography Considerations — 9 Spring/Summer/Fall Photography Considerations — 10 Safety Considerations — 11 General Photography Tips — 12 Getting Ready — 12 Camera Exposure Modes — 12 Electronic Flash — 13 Exposure Suggestions — 14 Controlling the Light — 14 Backgrounds — 14 Autofocus Considerations — 15 Image Stabilization - Vibration Reduction — 15 Portrait versus Behavior — 15 Rotate that Camera - Make horizontal and vertical shots — 15 Making Sharp Images — 16 Changing Position — 17 Eye-to-Eye — 17 Avoiding Inadvertent Amputation — 18 The Animal Trainers are Your Best Friends — 18 Photography Session Length — 18 Hot Weather Considerations — 18 Water — 18 Tips Illustrated — 20 Histograms Aren’t Just For Show — 25

Species Photography Suggestions — 27 Bears, Pumas, Tigers, Snow Leopards — 27 Coyotes and Wolves — 27 Fishers and Pine Martens — 27 Wolverines — 28 Foxes — 28 Raccoons, Skunks, Porcupines — 28 Badgers — 28 Bobcats and Lynx — 28 Baby Animals — 29

Insider’s Information on the Photography Locations — 30 Compound 1 — 30 Compound 2 — 31 Triple D Photography Areas — 32

Other Kalispell Photography Attractions — 33 Conclusion — 33 Appendix - Driving Directions to Photography Compounds — 34 Index — 35

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Introduction The Triple D Game Farm allows photographers to photograph their wildlife models in natural settings under controlled conditions. Photography at the Triple D Game Farm is one of the easiest and most productive ways of amassing a portfolio of interesting and varied wildlife photos. Not only is it exciting to be so close to animals you seldom see, but you get to photograph healthy, happy animals in natural settings. Jay and Kim Deist, the owners of Triple D, provide a tremendous service to photographers and you owe it to yourself to get the most out of the experience. I hope this book helps you do that. Photographing at Triple D presents a number of advantages to the wildlife photographer over chance encounters in the wild. Most of the species available for photography at Triple D are extremely elusive in the wild and many photographers will go their entire lives without ever seeing a wild Mountain Lion. With wild animals, you are usually stuck with the lighting conditions in which you found them. The photography locations Triple D uses are located with consideration given to using the best light of the day. Even when you happen upon a wild animal, there is no guarantee you are going to be able to make an interesting photo. The trainers at Triple D work with the animals to get them to pose and perform natural behaviors that are extremely hard to capture during chance encounters in the wild. Many of the animals available for photography at Triple D are large predators that would be dangerous to be close to in the wild but at Triple D you can safely photograph from just a few feet away. These advantages help make the photography at Triple D more productive than finding chance encounters in the wild. The species of animals available to photograph at Triple D can vary, but in general, you might find Pumas (aka Mountain Lions, Cougars), Tigers, Snow Leopards, Bobcats, Lynx, Black and Grizzly Bears, Wolves, Coyotes, Foxes, Badgers, Porcupines, Skunks, Raccoons, Pine Martens, Fishers, River Otters, Wolverines and Deer. Depending on the time of year and various other factors, some species may not be available for photography during the time of your visit. Clients are generally informed of the animals that will be available for photography during an orientation meeting before the first photography session.

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Getting There Triple D is located in north-western Montana in the city of Kalispell. Kalispell is situated in the Flathead Valley and is a short drive from Glacier National Park. Kalispell is easily accessed by plane, train or automobile. With a metro population less than 50,000, Kalispell’s size makes it easy to get around. Glacier Park International Airport provides air service to Kalispell through Horizon, Delta, Northwest and US Airways. The airport is conveniently located on Highway 2 and is a short 5.5 mile or 10-minute drive from the Triple D offices and 8.5 miles or a 15-minute drive from downtown Kalispell. Fog is an occasional winter visitor to Kalispell and you should be prepared if your flight is diverted to a nearby airport. Amtrak stops in the town of Whitefish, just 14 miles or a 20-minute drive from either the Triple D offices or downtown Kalispell. If you have the time, a trip on the train can be a relaxing way of getting to Kalispell, especially during winter. If you are coming from the west coast, the trip to Whitefish passes through a number of stunning locations as the train makes its way through the Cascade and Rocky Mountains. Kalispell has two major highways running through it. Highway US 93 runs north to south through the state while Highway 2 follows an east-west route. Driving 45 minutes to the north east of Kalispell , along Highway 2, takes you to the town of West Glacier at the edge of Glacier National Park and the start of the stunning Going to the Sun Road. This dramatic 50-mile road is an engineering marvel that winds through the park and over Logan’s Pass. Going to the Sun Road is usually open from late May or early June until snow closes it in October. Triple D does not publish the location of their facility. Either your group leader or Triple D will supply you with their address information prior to your visit.

Accommodations Before arriving in Kalispell, you should make arrangements for a place to stay. Although it is a small city, Kalispell is popular with tourists and there are times during the year when it can be difficult to find a comfortable and affordable room on short notice. Along with the hotels you would expect to find in a growing city like Kalispell, you should also consider staying at the Triple D guest cabin or maybe a local campground.

Triple D Guest Cabin • Triple D has an extremely comfortable guest cabin located a few hundred feet from the Triple D offices. The cabin is situated amongst tall pine trees and wild deer are frequent visitors. • Stepping outside at night, visitors are often greeted by a howling chorus of wolves from the adjacent Triple D offices. This is an experience I guarantee you’ll always remember. • The cabin has four private bedrooms, two shared washrooms as well as a sitting room, dining room, wireless Internet, kitchen and laundry facilities. • For the frugal or socially oriented photographer, the cabin is an excellent value.

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When the guest cabin is unavailable, I recommend staying at the Holiday Inn Express, Travelodge Kalispell, La Quinta Inn, Red Lion Hotel or the Hampton Inn. All of these hotels are located a short distance from Triple D and it will typically take less than 15 minutes to drive from one location to the other. Some of these hotels offer a discount for Triple D clients, so make sure you ask about a Triple D discount when you call to book your accommodation. Many hotels offer some sort of free breakfast for their guests. When you’re visiting Triple D in the fall, winter or early spring, this can be a great way of fueling up before heading out for a morning photography session. The Holiday Inn Express Kalispell is a nice place to consider staying. Of the local hotels, it is the newest, closest to the Triple D offices (about a 5 minute drive) and they offer a discount for Triple D clients. • If you’re staying at the Travelodge Kalispell and require WiFi access for your notebook computer, make sure you specify that you want to be in the “wireless wing” when you make your reservations.

accommodation in Kalispell:

As of the writing of this booklet, the following information will help you book

• Triple D Guest Cabin - Either book through your workshop leader or through Triple D directly at +1-406-755-9653 • Holiday Inn Express Kalispell - Book online (www.hiexpress.com) or call 1-877-660-8550 • Travelodge Kalispell - Book online (www.travelodge.com) or call 1-800-578-7878 • Hampton Inn Kalispell - Book online (www.hamptoninn.com) or call 1-800-486-1266 • Red Lion Hotel Kalispell - Book online (www.redlion.com) or call 1-800-733-5466 • La Quinta Inn Kalispell - Book online (www.lq.com) or call 1-800-753-3757

Kalispell Area Camping Another option to consider is camping. There are numerous camping areas and RV parks around the Kalispell area. Here are some areas and companies to consider camping with: • Rocky Mountain “Hi” Campground - Book online (www.glaciercamping.com) 1-800-968-5637 • Spruce Park on the River - Call +1-406-752-6321, web site at www.spruceparkrv.com • Glacier Pines RV Park - Call +1-406-752-2760 • Greenwood Village RV Park - Call +1-406-257-7719

(+1 in front of a telephone

Triple D Tips, Tricks and Techniques

a toll-free call)

or

call

number indicates that it is not

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Equipment Considerations People always ask about the sort of gear they should bring to Triple D. Along with the photography gear you will need to give consideration to the time of year that you will be at Triple D and the unique challenges the various seasons bring with them. If you are travelling to Triple D with a commercial airline, you will definitely be interested in optimizing the equipment you bring so that you have an enjoyable trip with as few hassles as possible at the airports while still bringing the equipment you will require to make some great photographs at Triple D.

Photography Gear A couple of camera bodies - If you can, I definitely recommend bringing a couple of camera bodies with you to Triple D. Because SLR cameras and even digital SLR cameras still have a lot of mechanical pieces inside of them, they will eventually fail. You can help protect yourself from this eventuality by bringing an extra camera body with you. An additional benefit is that you can have different lenses mounted on each camera and quickly change the type of shots you are taking during a session without having to swap lenses. A telephoto zoom lens with a lens collar- A telephoto zoom lens in the focal range of 70-300mm or 100-400mm is a very useful lens at Triple D. While I’ve used everything from a wide-angle lens to a super telephoto, I usually find myself using either my 70-200mm or 100-400mm lenses. Lenses with lens collars are very useful because they allow you to switch your camera from landscape to portrait orientation in an instant. Lots of film or memory card capacity - It is really hard to bring too much film or memory card capacity with you to Triple D. You are going to be face-to-face with some beautiful animals placed into prime habitat. When the animal you’ve been photographing finally strikes that one perfect pose, you want to be able to make the shot. Running out of film or memory card space is a quick way to stress yourself out. Memory Card Case - Chances are you’re going to need to carry more than one memory card at a time. A memory card carry case can help keep your memory cards organized and safe from dust and moisture. I recommend a brightly colored, waterproof case. This will help you find it in the event of inadvertently dropping the case during the excitement of a wildlife photography session. If you are bringing film, I recommend bringing rolls of 36 shots. For digital shooters, I recommend bringing and using the largest memory cards you have. There is some kind of bizarre rule at work here that states that the animals must strike their best poses during the time a photographer is changing film or memory cards. PSD’s and a laptop - For the digital shooters, some thought needs to be given to what you’re going to do with all those memory cards full of great images. Personally, I always bring a couple of personal storage devices (PSD’s) to download my memory cards to. That gives me two copies of my images and I download a third copy to my laptop. With three copies of my images in hand, I have no qualms about reformatting my memory cards to use again. Extra batteries - Batteries seem to run out of juice when it is most inconvenient. Protect yourself from missing shots by carrying extra batteries for your camera. If you’re shooting film don’t think you’re exempt from this suggestion as most film cameras rely on a battery for their operation. Triple D Tips, Tricks and Techniques

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A sturdy Tripod or Monopod - It is my personal belief that most photographers can make better images when they are using a monopod or tripod to help support their camera. While I know several photographers who produce stunning images hand-holding their heavy super-telephoto lenses, the majority of us are better off using a tripod or monopod. I am a big fan of using a gimbal tripod head when I’m photographing at Triple D with my telephoto zoom lenses. I prefer gimbal heads over ballheads because their design makes it much easier to track moving animals. Gimbal heads are manufactured by companies like Wimberley, Kirk and Jobu Design. Electronic Flash - A flash is a great way to add some punch to images on a dull day. If you decide that you want to use flash, consider using a flash bracket. Without the use of a flash bracket to get the flash away from your camera’s lens, many of your photos will have animals with red/white/devil eyes in them. That takes a lot of extra processing to get some usable shots. Flash takes a lot of battery power to operate and you can end up draining your batteries quite quickly. A lot of the advanced flash units available for cameras today allow for an external battery pack to be connected to the flash. This helps reduce the time between shots when your flash is not usable and it also helps provide you with more shots between battery changes. And speaking of battery changes, if you plan on using flash, make sure you bring some spare batteries with you. Also remember that you are going to be quite close to the animals. It is very easy to use too much flash and create unnatural looking photographs. Practice using the exposure compensation features on your flash to dial down the amount of light being used so that your images retain a natural appearance. Cleaning Supplies - Make sure you pack some lens tissue or micro fibre cleaning cloth for getting the dust off your lenses. If your camera doesn’t have an auto sensor cleaning feature, I recommend bringing your favorite digital sensor cleaning supplies. Nothing is more frustrating than getting home with hundreds of images that require processing to remove dust spots from the images. Warming Polarizer - A lot of wildlife photographers are hesitant to use a polarizer because of the 2 stops of lost light. I prefer the Singh-Ray polarizers which only cost 1 1/3 stop of light and they can even modify the drop-in filters available for the larger lenses. A polarizer is a great way to tone down harsh lighting conditions that can occur later in the day. In summary, please consider bringing: • A couple of camera bodies • A telephoto zoom lens with a tripod collar in the focal range of 70-300mm or 100-400mm, or some variation thereof • A lot of film or memory card capacity • A waterproof memory card case • Extra batteries for your film or digital camera • If you’re shooting digital, you’ll want a storage device (or two) to storage your images on • A sturdy tripod or monopod. You’re going to be photographing for hours and a good camera support can help you make better images • Cleaning supplies for lenses and digital sensors • A flash with extra batteries to add punch to your images on dull days or fill in the shadows in very bright conditions

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Winter Photography Considerations Winter is the time of year when animals have their best fur coats and look magnificent. Winter temperatures in Kalispell range from just below freezing to the mid-teens. One winter accessory I wouldn’t consider leaving behind are my snow pants. Snow pants let you get down low to make photographs without becoming unnecessarily wet or cold. A warm pair of winter boots are a necessity. Nothing is more distracting during a great winter shoot than cold toes and feet. Not only should your winter boots be warm but they should be water proof. The snow at Triple D can be knee deep and your winter boots won’t do you much good if water can get through to your feet. You are most likely going to find yourself wanting to get low to capture some images. A pair of construction grade knee pads are a really inexpensive way of protecting your knees from bruises. A usable pair of knee pads can be purchased at a home renovation store for less than $20 and your knees will thank you for it. People who are uncomfortable getting on their knees to photograph, might consider bringing a small stool. I bring a stool with me from the Swedish company Scandanavian Touch called the Walkstool. This lightweight stool is extremely strong and easy to transport. It is available from all the major online photography equipment retailers including Adorama, Naturescapes.net and B&H Photo. For keeping your hands warm, consider going to a dual layer approach. Next to your skin, wear flexible cotton gloves that allow you to operate the controls on your gear. Over that consider a mitt that you can quickly pull on and off when you need to make adjustments. Consider using hand, feet and toe warmers to help keep warm. Pick up some wrist bands that allow for hand warmers to be inserted into them to warm your blood on its way to your hands. Extra hand warmers are also great for helping keep your spare batteries warm and ready to swap for cold, energy depleted batteries in your camera. One of the best ways to maintain your energy and keep warm is to keep your body fueled. High-energy snacks, kept in the car so as to not distract the animals, are great for a quick snack between photography sessions. Be careful to prevent condensation from getting into your camera. If you bring your cold camera into warm moist conditions like a home, hotel room and even a warm car, you risk having condensation form on the inside of the camera, potentially causing a malfunction. My approach is to leave my photography gear inside the car, even overnight, while I bring my batteries and memory cards inside. Another approach is to use airtight plastic bags that can completely encase your cold gear. Leave them sealed in those bags after you bring them into the warmth until the gear warms up to room temperature. Winter gear that bears consideration includes: • • • • • • •

Snow pants A warm pair of waterproof winter boots Flexible gloves that fit inside a larger, warm mitts Hand, feet and toe warmers Knee pads Portable stool High-energy snacks to keep your body fueled

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Spring/Summer/Fall Photography Considerations Spring in Kalispell generally brings baby animals to Triple D along with warmer temperatures. The beginning of spring in Kalispell sees average high temperatures of 60 and a low of 32. By the beginning of summer average high temperatures are 75 with a low of 46. July is typically the hottest month of the year and high temperatures in the 90s are not unusual. Fall sees a return to lower temperatures with highs near 60 and lows near freezing. Photo shoots start early during the spring, summer and fall in order to capture the sweetest light. In the months of May through July, you should be prepared to be at the Triple D offices as early as 6:00AM in order to catch the morning light at the remote shooting locations. When you’re starting this early in the morning, most of the hotel restaurants and even the fast-food restaurants won’t be open before you need to be at Triple D. Think of purchasing some breakfast bars or other breakfast snacks that can tide you over until you get a chance to have a full meal. When the animals are working in warm conditions, you need to try to avoid photographing when an animal is panting as it generally looks unattractive. The cooler temperatures of fall signal the animals to start growing their winter coats which gives them a different look than their lighter summer coats. Fall has the added benefit of bringing a change in the foliage that can add a lot of interest to the background of your images. There is always a chance of rain. Bring rain gear to protect yourself and your camera gear from the rain. A small golf towel can be very useful for protecting gear during a light shower and of course helps dry things off when the rain stops. Early summer at Triple D can be prime mosquito season. Bug repellent and bug resistant clothing is essential. If using bug repellent with DEET, keep it away from your equipment. A little DEET left on the surface of your fingers or hands will transfer to your photography gear and start to eat away at any of the plastic or rubber. In terms of bug resistant clothing, my favorite piece is called The Original Bug Shirt “Elite Edition” and is available from Bugshirt.com. Knee pads and a portable stool can be very useful items to add to your equipment list. See the discussion under Winter Photographer Considerations for more information. Items to consider include: • • • • • •

Rain gear for you and your camera Breakfast snacks Bug repellent Bug-proof clothing Knee pads Portable stool

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Safety Considerations Any time you are going to be very close to potentially dangerous animals, you need to give some serious consideration to safety. Triple D has been safely providing their services to photographers since 1972. Over the years, a number of guidelines and rules have been developed to keep everyone safe, including the animals. Please pay close attention to the rules detailed below. Safety instructions will be given at the beginning of a photography session. The animal trainers at Triple D consider your safety to be of the utmost importance and you should too. When it comes to safety, the animal trainers always know best. You never do. While the animals you’ll photograph at Triple D are captive, they are neither tame nor pets. It can be tempting to pet or interact with an animal when it comes close to you, but please don’t. Never touch or attempt to touch any of the animals, not even the cute baby animals. Please don’t wear strongly scented perfume, deodorant or body sprays. The animals can be attracted to, or distracted by these scents. If an animal is distracted by a scent that someone is wearing it can ruin the shoot for your group. Although the animals all have names and the animal’s trainers call them by name, you should never call an animal by name. This can end up confusing the animal and potentially cause an early end to a photo session. If you are looking for a specific shot, check with your group leader or the animal’s trainer to see if your requests can be accommodated. Leaving items like hats, gloves, coats or backpacks in a place that an animal could grab an item and run off with it is a problem. Many of the wolves, coyotes and foxes enjoy nothing more than running around with a photographer’s glove. Not only can it cause an early end to a shoot, but the rest of your group will curse you when a number of their images feature your hat in the mouth of the animal they were photographing. When you move, please move slowly and carefully. Predator species instinctively key on quick movements as a possible indication of prey. Quick movements can frighten some of the more skittish species. When you are photographing the large predator species like pumas, tigers and bears, never turn your back on the animal. Remain standing while photographing and don’t separate yourself from the group. Crouching down or turning your back on a large predator indicates that you might be something to hunt and I do not recommend getting hunted by a puma. Leave your food in your vehicle. The animals’ tremendous sense of smell can sniff out even the smallest amounts of food. Your group will be unimpressed if a shoot is ruined or ended early because you brought food with you. Although it can seem that there are a lot of safety considerations to keep in mind, have fun. These safety precautions have kept photographers safe at Triple D since 1972. Safety summary: • • • • • • • • •

The animal trainers always know best when it comes to safety. You never do Never touch or attempt to touch any of the animals Don’t wear strongly scented perfume, deodorant or body sprays Never call an animal by name Never kneel or get down into a low shooting position without first checking with the trainers When you move, move slowly and carefully Never turn your back or separate yourself from the group while photographing a large predator Leave all food in your vehicle Leave your vehicle unlocked. In an emergency, look for the nearest vehicle to escape to. You don’t need to be in your own vehicle in order to be safe

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Getting Ready You’ll enjoy your time at Triple D a lot more if you arrive knowing how to operate the major systems of your camera. I would recommend that you know how to set your camera’s focus, depth-of-field and exposure. The brand new camera that you haven’t had a chance to learn probably isn’t the best camera to bring to Triple D. If you aren’t comfortable with your camera’s operation, you’ll spend a lot more time getting frustrated than enjoying the tremendous opportunity to photograph beautiful animals. Develop a systematic approach for getting ready for a shoot. I once led a workshop where an individual shot an entire session without film in their camera. Build a routine that you go through each and every time you begin shooting. Put a memory card (or film) in the camera, format the memory card, check your autofocus and image stabilization functions (if present) to make sure they are set the way you want. Most photographers find it incredibly thrilling to be so close to animals seldom seen. For first-time visitors to Triple D, this usually results in an incredible number of shots being taken without too much thought given to issues like composition. My advice for the first-timers is to go with the flow and take a ton of shots. When you’ve got it out of your system, settle down and start to think about your shots.

Camera Exposure Modes Your camera probably has a number of modes that you can use for choosing an exposure. • Automatic or programmed mode - The camera makes all the decisions about shutter speed and aperture size. • Manual mode - The photographer makes all the decisions about shutter speed and aperture size. • TV or Shutter Priority mode - The photographer chooses a desired shutter speed and the camera automatically adjusts the aperture based on what it is metering. • AV or Aperture Priority mode - The photographer chooses a desired aperture and the camera automatically adjusts the shutter speed based on what it is metering. In general, I shoot most of my wildlife images in aperture priority mode. I do this because I’m typically looking to control the depth-of-field in my images to try to separate my subject from its background. Of course, there is no “rule” for this sort of thing and the exposure mode you choose will ultimately depend on what you are trying to achieve. Modern cameras generally have a number of modes for metering the light coming into the camera. Although the technology has greatly improved over the last few years, unfortunately there isn’t one mode that is perfect for every situation.

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• Spot Metering - In spot metering mode you point the camera’s sensor at the point you want the camera to meter off of and the camera makes the appropriate exposure. Remember that the camera is looking to make whatever it meters equivalent in tone to an 18% grey card. If your subject isn’t a neutral tone, you need to compensate for the difference in the camera by using exposure compensation. • Center-Weighted Metering - This mode of metering reads the light from the entire sensor but places an emphasis on the light coming from the central and lower area of the sensor. A good general-use metering mode as it is most likely to accurately meter a scene where the upper part of the scene (like the sky) is brighter than the main subject of the photograph. • Multi-Segmented Metering - This is the mode I primarily use. Canon calls it evaluative metering while Nikon calls it matrix metering. This metering mode meters a large portion of the scene and sets exposure based on the distribution of brightness, color, distance and composition in order to attempt to render a natural result. Like everything else, you need to practice with your camera in the various exposure and metering modes to learn how your camera will react in various situations. You will want to be comfortable with your exposure mode and metering before your trip to Triple D so that you come home with the best exposed images possible.

Electronic Flash Electronic flash is an excellent tool when used correctly. Unfortunately, many photographers are not comfortable using flash and end up with images that look “flashed.” Furry animals can look especially bad when electronic flash is used too aggressively. When using flash, you are typically using it to provide some balance in bright or back-lit conditions or when you want to add a catch-light that isn’t in your subject’s eyes naturally. When flash is used properly, it usually isn’t apparent to the casual observer that the scene was flashed. If you plan on having an electronic flash in your camera toolbox, make sure it supports flash exposure compensation. At Triple D you are shooting under controlled conditions and the photography sessions are generally coordinated with the best lighting conditions of the day. Because of this, you will usually be using your flash as a fill flash and you need to be able to reduce the amount of light your flash is generating to avoid a “flashed” appearance to your images. In bright conditions with shadow, or back-lit situations, you will want to use your flash as a fill light. You want to fill in the area that is in shadow in order to create a well-balanced, properly exposed image. This is another area where digital shooters have a big advantage over film photographers. Both the camera’s LCD screen and the available histogram allow the digital photographer to determine, at a glance, if the light from the flash is too much, too little or just right and then make the appropriate adjustments. On average, I usually start with my flash exposure compensation dialed down two stops (-2) and adjust from there. Of course, it ultimately depends on my subject, distance to the subject and the lighting conditions. Another use for fill flash is on dark overcast days where the flash will bring back the color and saturation that might otherwise be missing. It also adds a catch-light to help bring life to the subject. If you are going to be using an electronic flash, you need to take battery life and the time it takes the flash to recycle into consideration. Therefore, I recommend using an external battery pack for your flash. External battery packs will usually more than double the number of flashes your flash can produce before exhausting the batteries and will greatly reduce the time it takes the flash to recycle its charge so it is ready for the next shot.

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Exposure Suggestions Digital photographers should learn to embrace the histogram that their cameras can display after (or with some cameras, even before) an image is taken. The histogram provided by digital cameras is perhaps the single most useful tool that digital photography provides. Learn to use and rely on the histogram your camera produces and your percentage of properly exposed images is sure to increase. Photographing darkly colored animals in bright conditions is always a challenge. Pay close attention to your exposure to prevent overexposing your images. Digital photographers have the advantage of having access to a histogram. One technique for photographing darkly colored animals in these challenging conditions is to switch your camera to manual mode. Find something neutral to meter off of is the way to go. Green grass or the palm of a hand are handy and often available when you’re looking for something to set your exposure from. I’ve met a number of photographers who attempt to secure the correct exposure in tough light by bracketing their exposures. While this technique can work with static subjects like landscape images, it doesn’t work as well with wildlife photography. Capturing a great wildlife image is about anticipation and timing. If you’re trying to rely on exposure bracketing to insure you nail the exposure, what happens when the animal’s best look is on your worst exposed image?

Controlling the Light Keep an eye on your position as it relates to the direction of the light. In general, you want the light streaming over your shoulder to light up your subject. A good trick for following the light is to point your shadow at the subject. Remember that you aren’t anchored to any one spot and you can, and should, change positions both to vary your background and to use the optimal light. If you end up shooting into the light, look for opportunities to make silhouettes. Rim lit subjects can also be very effective when your subject is positioned against a dark background.

Backgrounds It is very easy for distracting elements to sneak into the backgrounds behind your subjects. It is important to notice how the background you are photographing an animal against can impact your images. Unless you are creating environmental shots, you usually don’t want a lot of clutter in the background as it can distract the viewer of a photograph from focussing on the animal. Few things ruin an otherwise perfectly good shot more than discovering that your beautiful subject has a tree or branch seemingly growing out of its head. Many wildlife images are made at a relatively large aperture. Using a large aperture allows the photographer to minimize the depth-of-field in an image. The depth-of-field is a term that describes how much of the image in front of the focus point and how much of the image behind the focus point is in focus. Shooting at a lens’s larger aperture setting (F2.8, F4, F5.6) allows for photographs with a wonderfully blurred background that allow the viewer to focus exclusively on the subject of the image. Remember that the smaller the f-stop, the larger the aperture opening which results in a shallower depth-of-field. When photographing an animal with a long snout up-close, try to use enough depth-of-field to keep both the animal’s eyes and the end of its nose in focus. Triple D Tips, Tricks and Techniques

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Autofocus Considerations By mastering your camera’s autofocus system, you will find yourself with better pictures upon returning from Triple D. It can be very useful to learn how to quickly switch the autofocus point your camera uses to focus. You can practice this technique by watching television through your camera’s viewfinder and moving the focus point to the current speaker’s eye. If nothing else is in focus in your images, you will usually want the animal’s eye to be in focus. Canon shooters will want to set their camera’s autofocus system to AI-Servo while Nikon users will want to select Continuous-Servo AF. Because the animals typically move around a lot, you need your camera’s autofocus system to be in a mode where it can track the moving wildlife while you maintain an interesting composition.

Image Stabilization - Vibration Reduction Many modern lenses and even some cameras have a gyroscope based system for helping stabilize vibrations and movement to help produce sharper images at lower shutter speeds. Today’s modern systems can help the photographer create sharp images in much lower light (2-3 stops) than might otherwise have been possible. However, the situation becomes slightly clouded when a photographer is using an image stabilized (vibration reduced) lens or camera mounted to a tripod. Some systems detect the lack of movement and shut themselves down. Others unfortunately create softer images as they attempt to reduce movement and vibration that isn’t there. Consult your manuals to determine if you should be using the vibration reduction systems when your equipment is mounted on a tripod. Modern stabilization systems work well with a tripod and further enhance the stability provided by a tripod. When I visit Triple D, the vast majority of my images are made with an image stabilized lens , with the image stabilization function turned on and with the lens mounted on a tripod.

Portrait versus Behavior There can be little doubt that a lot of photographers leave Triple D with a collection of animal portraits. And while there is nothing wrong with that, I’d encourage you to watch for opportunities to make behavioral shots. Portraits are great but behavior tends to be more compelling.

Rotate that Camera - Make horizontal and vertical shots It seems that many photographers are hesitant to change the position of their camera from landscape (horizontal) to portrait (vertical) shots or vice-versa. Not only does changing the camera’s orientation change the shot, it may be that one orientation is superior to another for a given situation. This is a situation where a lens with a tripod ring really helps out. I always leave the tripod ring on my lenses loose so I can quickly switch between landscape and portrait orientation. Trying to accomplish this by flopping your camera and lens over on a ballhead is prone to problems including missing the shot while you fumble to get things lined up.

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Making Sharp Images Nothing is more frustrating than having a great camera with a nice lens and returning home with soft images. What went wrong? Here are a few suggestions for making sure you return home with the sharp images you want. • Lenses - The higher quality the lens, the better images it can produce. Most camera and lens manufacturers make a line of “professional” lenses. In addition to being more expensive, these lenses can produce tack-sharp, well saturated images. • Focussing - If you haven’t mastered your camera’s focussing system, or worse yet are relying on the camera to determine what to focus on, you are greatly reducing your chance at making sharp images. • Practice, practice, practice until this essential skill comes naturally • Shutter Speed - You need enough shutter speed to have a reasonable chance at making a sharp image. The general rule of thumb is that your shutter speed match the focal length your shooting at. E.g. For an image made at 220mm you should be shooting at a minimum of 1/200th of a second. With an image stabilized or vibration reduced lens, you can generally get away with 1/2 that shutter speed (1/100th of a second in this example). • If your subject is moving around, you also need enough shutter speed to freeze the motion. In most situations, you probably need shutters speeds of 1/250th of a second, or faster, to freeze the motion. • Digital photographers have a definite advantage here over film shooters because they can simply set their camera to a higher ISO in order to achieve a desired minimum shutter speed • Camera Support - Many photographers are not accustomed to making images with a tripod. They find them cumbersome to use but instead enjoy the flexibility that hand-holding their cameras gives them. • I am a strong advocate for using a tripod whenever practical. Even with today’s advanced image stabilization systems, it is generally advisable to use a tripod to enhance your image quality. • At Triple D you are photographing for hours a day and a tripod helps reduce the muscle fatigue that would otherwise inevitably occur. • If you insist on hand-holding your camera, learn how to properly brace yourself. • When standing, have one hand supporting the lens from underneath while the other hand operates the camera’s controls and shutter. • Keep your elbows tucked tight against your body to provide extra support. • When kneeling or lying prostrate on the ground, look for ways to brace yourself against your own body or another structure in order to enhance the camera’s stability. • Tripod Heads - Gimbal Heads • I almost exclusively use a gimbal head when photographing wildlife while using a tripod. Why? • A gimbal head allows you to completely balance your equipment. You don’t need to worry about the head flopping over if you let go of it. On a gimbal head, when you let go of your equipment, it just returns to a center position. • A gimbal head gives you fingertip control while panning your equipment left to right or up and down (or any combination thereof). • When you’re photographing a subject that is moving a lot, a gimbal head allows you to concentrate on the action instead of fiddling with a ballhead. • I use a Black Widow Gimbal Head from a company called Jobu-Design. Wimberley and Kirk Enterprises also make excellent gimbal heads.

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• Tripod Heads - Ballheads • Most photographers seem set on using a ballhead to support their lens and camera. If you do use a ballhead, make sure it is engineered to support the equipment’s weight. • A good ballhead will lock down in a manner that doesn’t allow the angle to creep due to the weight of the equipment. • When I use a ballhead, I’m partial to the ballheads made by Really Right Stuff. Kirk Enterprises also makes excellent ballheads. • Tripods - When considering a tripod, look for one that is over-engineered and built to withstand at least a 1/3 more weight than your heaviest equipment. • I personally prefer Gitzo carbon fibre tripods for their light weight and tremendous rigidity. • Squeeze, don’t stab - One aspect that is often missed in the analysis of why an image isn’t sharp is how the photographer releases the shutter. • I suggest photographers learn how to gently squeeze the shutter button to create an image as opposed to wildly stabbing at it. • When using telephoto lenses, just the act of stabbing or jabbing at the shutter button can be enough vibration to make an image soft.

Changing Position Most photographers who visit Triple D do so as part of a group. And while the first spot you plunk your tripod down may be a perfectly great place, look for opportunities to move your camera. If you stay in one place, all of your images will have very similar backgrounds in them. By moving a few steps you create images with a brand new background and you’ll end up with a lot more variety in your images. If you move, remember to coordinate your movements with the group leader and animal trainers. You should avoid stepping into someone else’s shot at all costs. Even if you think you’re in the best possible spot, allow others in your group to move into that spot. Other group members will do the same for you and your group will end up being a happy and productive group. It is very easy to end up with all of your photographs featuring an animal in the center of the image. Generally, you will want room for the animal to move or look into. Try moving your subject around the viewfinder to add some interest to the images. The “rules” of composition, including the Rule of Thirds and the Golden Mean, apply to wildlife photography and can help you create more compelling images.

Eye-to-Eye Many captivating wildlife images are made at the animal’s eye level. When you are allowed to do so by the animal’s trainer, move to a lower shooting position that puts your camera’s lens at or near the animal’s eye level. It makes the animal look more majestic and compelling when you are at its eye level. Learn to watch the animal’s eyes as it is the eyes that will help tell the story in your photography. In general, wildlife images are a lot stronger when the subjects eye or eyes are clearly visible in an image and sharply in focus. Try to capture a catch-light in the animal’s eyes or add one using some fill-flash. A catch-light in an animal’s eyes adds life to an image. It is a good idea to keep your eye on your viewfinder during a session with an animal. You can bet that the moment you’re distracted and not watching the animal through your camera’s viewfinder an opportunity for a great photograph will be missed. Try to get in the habit of continually composing and focussing on the animal so you’re ready when something special happens. Triple D Tips, Tricks and Techniques

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Avoiding Inadvertent Amputation Although most animals have four legs and a tail, it can be easy to accidentally amputate one of the animal’s appendages with the camera. Few wildlife photographs benefit from having a tail or leg awkwardly severed by the camera. It can be especially challenging when photographing animals with long tails like mountain lions, tigers and snow leopards. Try to keep this in mind and look around the viewfinder to make sure all of the animal’s appendages are included.

The Animal Trainers are Your Best Friends You’ll quickly learn that many of the animals at Triple D are rewarded by the animal trainers with food when they pose appropriately or perform some behavior. You’ll also need to learn to time your photographs so you don’t capture animals chewing or with their tongues hanging out of their mouths. Your shots will look more natural if you can avoid chewing or tongue shots. The trainers spend a lot of their time working with the animals and you’ll see that the animals often watch their trainer for cues. When you know this, you can make better choices when positioning your camera or anticipating behavior.

Photography Session Length Photography sessions aren’t a predetermined length. Instead, the trainers observe the animals for indications that they are becoming tired. Once the trainers observe that an animal is beginning to get tired, you might be given a few minutes warning, but then the session will be finished. Shoot while the shooting is good.

Hot Weather Considerations Photographing during hot days presents extra challenges. Panting animals are usually not majestic animals. A panting wolf with its tongue out looks like a German Shepherd. On hot days, your best photographs will usually come at the beginning of the session before the animal is hot and begins to pant.

Water At locations water, look for opportunities to include the water in your images both behaviorally as well as for reflections.

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Tips summary: • • • • • • • • • • • • • • • • • • • •

Know how to operate the major systems of your camera Master your camera’s auto focus and exposure systems Beware of distracting backgrounds Keep your eye on your viewfinder When the location you’re shooting at features water, look for opportunities to make photographs incorporating reflections Get good at quickly changing your camera’s film or memory cards Make photographs in both horizontal (landscape) and vertical (portrait) orientations The eyes help tell the subject’s story Look for opportunities to move your camera Pay close attention to your exposure when photographing dark animals in bright conditions Look for opportunities to shoot behavior shots When the trainers allow you to get low, do so Try not to accidentally amputate one of your subject’s appendages Whenever possible, use a tripod Photography sessions aren’t a predetermined length Don’t create all your images with your subject centered in the viewfinder The animals often watch the trainer Practice your skills so that you can make sharp images Shoot while the shooting is good Digital photographers should learn to rely on their camera’s histograms

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Tips Illustrated I have found that I can learn a lot from the good and bad photographs that I have made during my visits to Triple D. By presenting the following examples, I hope that you will be able to learn from some past mistakes. Each example contains a pair of photographs. In each example the first photograph has some problems that keep it from being a strong photograph. The second example is another attempt in a similar circumstance that resulted in a stronger image.

This image of a tiger has a few problems… • The head and specifically the eye are not in focus. ○○ The focus appears to be on the middle of the tiger’s back. • There are distracting, out of focus elements in the foreground and background. • The tiger’s tail and leg have been awkwardly left out of the image. I should have zoomed out a little to give the tiger more space in the viewfinder and made sure I was using a fast enough shutter speed to stop the motion of the tiger running.

This is a stronger image of a tiger because… • The eyes and face are sharp. • There are no overly distracting elements in the foreground or background. • All the tiger’s appendages are present and accounted for.

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This photograph of a bobcat has a few problems… • • • •

There is little to no eye contact. The camera is shooting down at the animal. The ears are in an awkward position. There is no catch-light in the eyes.

I should have waited for the bobcat to turn its head towards me and for its ears to be facing forward. Additionally, the image would have been a lot stronger if I’d moved into a lower shooting position to capture the bobcat’s eyes at its eye level.

This is a stronger photograph of a bobcat because…

• There is excellent eye contact with a catch-light. • The photograph was made at the bobcat’s eye level. • The ears are forward and the expression is alert.

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This shot of a running tiger has a couple of problems…

• The action, expression and moment the picture was captured are very good, but, the unfortunate tiger appears to have a tree growing out of its back. • The tree also adds a distracting background element. Although I timed this shot fairly well, the tree that appears to grow out of the tiger’s back is quite distracting. A couple of steps to the right or left would have solved the problem. The only way to repair this image at this point is by spending a lot of time in working the image in my photo editing software. It is almost always more time efficient to make the image correctly in the camera than to have to spend time working in the digital darkroom.

This shot of a running tiger is stronger because…

• Again the action, expression and moment the picture was captured are very good. • Moving a few steps to the right removed the tree from the tiger’s back and gives a cleaner background.

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This wolf portrait has a few problems…

• While there is good eye contact and an alert expression, the tongue hanging out while the wolf is panting suggests it might be a German Shepherd instead of a wolf. • The camera is slightly shooting down at the wolf. • The crop of the wolf’s head is awkward with just the tops of the legs being included. • Having the wolf in shadow against a bright background makes for a distracting setting. This image has a lot working against it. The bright background is very distracting. And remembering that a panting animal is rarely a majestic animal.

This is a stronger wolf portrait because…

• There is good eye contact and an alert expression. ○○ The eyes tell us it’s a wolf and there’s no tongue hanging out to confuse us. • The shot was made close to the wolf’s eye level. • A head and shoulder crop tends to be a more comfortable portrait.

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This shot of a pair of skunks has a few problems … • The camera’s automatic meter was fooled by the bright conditions with an animal with both black and white fur. ○○ In this shot the highlights are blown and this causes there to be little to no detail in much of the skunks’ white fur. • There isn’t much happening in this image to tell a compelling story. An animal like a skunk in bright light is a perfect example of a time to use manual exposure. Even then, it can be very tricky to retain details in both the white and black areas of the skunk. Additionally, my timing here created a boring image.

This shot of a pair of skunks is stronger because…

• The camera’s meter was set manually. ○○ In this shot there are plenty of details in the skunk’s white fur. • The interaction between the skunks tells a story and makes for a more compelling image.

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Histograms Aren’t Just For Show (Originally published in Outdoor Photography Canada Magazine, Issue 1)

One of the most useful tools available to the outdoor digital photographer is the histogram built into their camera. Photographing outdoors often presents some unique lighting challenges and your camera’s histogram can really help you - if you let it. The first step is to consult your camera’s user manual and turn on the camera’s histogram display. A histogram is a bar graph. That last sentence may have triggered some math trauma from your past so that you are now itching to turn the page. Trust me, keep reading, and I’ll get you through this. A histogram is a bar graph arranged so that pixels representing dark or shadow details are on the left side, middle toned pixels are in the central area, and bright or highlight pixels on the right. I use the mnemonic “righty brighty” to remember which side the highlights are on. The height of the bars tells you the relative percentage of the pixels in that tonal range. There is no such thing as a wrong or correct histogram. Each histogram simply reflects the characteristics of the image and depending on the effect the photographer is aiming for, the histogram can vary widely. Compared to the human eye, cameras have a limited dynamic range when recording scenes with a lot of contrast. When an image contains too much contrast, detail is lost in the extremes and those pixels are said to be clipped. Clipped pixels show up on the histogram as pixels stacked against the extreme left (for shadows) and right (for highlights) sides. To produce an image with as much detail as possible, you want the histogram to show a fairly even distribution of pixels without a preponderance of clipped shadow or highlight pixels. Example 1 shows a photograph with clipped shadow details as well as a preponderance of pixels on the left side of the graph. These are the symptoms of an underexposed image with a dark, dull appearance and detail missing in the shadows. In this example the camera’s meter tried to automatically produce an image that is of medium tone and it was fooled by the bright conditions. After seeing the underexposed histogram from my first attempt, I adjusted my camera and inadvertently overexposed the next image. Example 2 shows a histogram with clipped highlight details and the distribution of pixels weighted towards the right side. These are indicators of an overexposed image with a washed out appearance and detail missing in the highlights. Learning from my two previous attempts, I backed off the overexposure a bit and ended up with a well exposed image in Example 3. The histogram still tends towards the right side, but this is natural as I was photographing a bright scene with a lot of snow and sunshine. Overall, the histogram shows a good distribution of pixels in the shadow, medium tone and highlight areas with no clipping at either end of the graph. I encourage you to turn on that histogram and experiment with making photographs in different conditions noting the results. Learn how to adjust your camera in response to the histogram and you will increase your percentage of well exposed photographs. Triple D Tips, Tricks and Techniques

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Species Photography Suggestions Bears, Pumas, Tigers, Snow Leopards • The large cats have long tails that are easily amputated by the edge of the image frame unless you pay close attention. • These are big and potentially dangerous animals. Listen carefully to the safety talk at the beginning of the session. Ask questions before the session begins if you need anything clarified. • If the animal approaches your position, don’t panic. Facing the animal, slowly move yourself and your equipment backwards (don’t turn and run). Make room to allow a trainer to step between yourself and the animal. • Puma, mountain lion and cougar are all names for the same animal. • Snow Leopards have very expressive faces. Work to capture their personalities in your images. • Oddly enough, the best time of year to photograph Snow Leopards is during the winter, in the snow. • You can make stunning portraits of these animals using a long telephoto lens in the 500-600mm range. • The cat species will occasionally exhibit a stalking behavior.

Coyotes and Wolves • You can usually shoot from a lower position with these animals but always ask permission from the trainers first. • Your range from these animals will vary and you will probably want a longer zoom lens in the range of 100-400mm. • These animals love to run off with a dropped hat or glove. Preserve your reputation by not being the person who inadvertently adds your glove into everyone’s coyote shots. • Watch for opportunities to photograph howling behavior as the trainers can occasionally encourage these animals to howl. • Wolves are often photographed in either a “Majestic Wolf” session with a single wolf or an interactive session with two or more wolves. • Wolves are very majestic animals and many of them have riveting eyes. • Try making some images that capture the intensity of a wolf’s stare.

Fishers and Pine Martens • You will usually be very close to these animals and able to shoot with a lens in the 70-200mm range. • You will be able to get down low to photograph. • These are dark furred animals and you need to watch your exposures. • The animals move around a lot. Watch carefully and learn to anticipate their behavior. • It is sometimes easier to pick a spot and wait for the animal to go there than try to follow it as it moves around the enclosure. • Because you’re so close, and these animals have long snouts, you need to give consideration to the depth of field you are shooting at. You’ll want both the animal’s nose and eyes to be in focus. • You will most likely be photographing these animals in a small enclosure, fenced on four sides and the roof. • Be mindful of the fence while composing your images and following the animal’s movements. • Remember to allow everyone in your group to rotate through the available shooting locations. Triple D Tips, Tricks and Techniques

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Wolverines • This is a medium sized animal that you will usually be quite close to. • Wolverines are extremely powerful animals but they tend to move quite slowly and purposely. • These dark animals present exposure challenges when working in bright sunny or snowy conditions. • Remember to consult your histogram.

Foxes • Like the smaller cats, you can usually shoot from a lower position with these animals but always ask permission from the trainers first. • These animals tend to move around quite a bit. Be prepared for some fast action particularly if more than one animal is involved. • Foxes are often photographed at locations with a simulated den site. • Foxes are very curious animals and will often tilt their head quizzically. • Arctic Foxes have tremendous eyes with great color in the irises when the lighting conditions and the photographer’s exposure are right.

Raccoons, Skunks, Porcupines • Find out how far you’ll be from the animals in order to select the best lens. • All three of these species present their own special exposure concerns. • Raccoons and skunks have both dark and white features. Concentrate on your exposures to make sure you aren’t clipping your shadows or highlights. • When possible, photograph porcupines straight-on to try to get both their eyes in the image and consider using a reflector or fill-flash to help illuminate their faces. • Because of their coloration, skunks can be especially tricky to photograph in bright conditions • Rely on your histogram to make well exposed images • Raccoons are often photographed near water. Be careful not to cut off their reflection in awkward places.

Badgers • You will be able to get close to these animals which will allow you to shoot with a medium range telephoto zoom lens. • Get down low to capture these animals at their eye level. • Badgers have long claws that look great included in a photograph. • Badgers seem to be permanently grumpy. Watch for opportunities to photograph this behavior. • Badgers have a white stripe running down the middle of their head which will lose detail if over-exposed.

Bobcats and Lynx • You can usually shoot from a lower position with these animals but always ask permission from the trainers first. • These cats have patches of white fur around their mouths. In bright conditions you need to be careful you don’t overexpose those areas and lose detail in the highlights. • For their size, Lynx have gigantic feet. • Look for opportunities to make photographs that emphasize the size of their feet. • Both these animals have ear tufts. Your pictures will benefit if the ear tufts are apparent. • Both lynx and bobcats will occasionally exhibit stalking behavior.

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Baby Animals • You are usually going to be quite close to these animals. In most cases a medium range telephoto zoom lens in the range of 70-200mm will be sufficient, but check with the group leader or trainers to determine the distance you’ll be working from. • The baby animals can frighten easily. If you need to move, make sure you check with the trainers first and then move slowly and carefully so that you don’t inadvertently frighten the animal. • As cute as they are, resist the urge to touch the animals even if they make the first move. • When photographing a group of young animals or youngsters with an older animal, watch for opportunities to photograph the interaction between the animals. • In the warm weather, the baby animals are more likely to get hot quickly because of their small size and fur coats. Once an animal is hot and panting, the photography session will usually end. • The baby animals have a shorter attention span than do the older animals. Because of this, photography sessions with young animals often have a shorter duration. • Watch for the playful and clumsy behaviors that often make baby animal shots so compelling.

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Insider’s Information on the Photography Locations Triple D currently has 3 major locations that are regularly used for photography. Each location features several different natural areas to photograph the animals in. Compound 1 is situated at a farm north west of Kalispell and features natural areas with rocky hills, ledges and outcrops. Compound 2 is located north east of Kalispell and has a number of different natural areas including several with water. There are also a number of photography areas at the Triple D offices.

Triple D staff member.

All of the Triple D photography locations are on private property and cannot be visited without an escort from a

Compound 1 Driving to Compound 1 (see the Appendix for a map and directions) takes about 20 to 25 minutes. In the spring, summer and fall you’ll be parking about a hundred yards from the shooting locations while in the winter, you’ll be able to park a bit closer. Remember that this area is located on private property and a family lives on the land. Drive slowly and courteously while trying not to make a lot of noise on those sunrise shoots. The compound itself has a number of shooting locations and Jay and his staff are always working to add more variety. While all of the areas are fenced to help control the animals, you will always be photographing from inside the fence. A couple of the locations feature natural areas simulating den sites for the animals. In these areas you will generally be photographing up a small incline. This usually allows you to work from a standing position as the hill takes care of moving the animals close to level with your camera. When photographing towards the sides of these areas, make sure to watch out for the fences that run along the sides so you don’t inadvertently include a fence in your pictures. Another area is a shortish 2-3 minute hike up to a rocky ledge. Many different animals can be photographed in this setting and you will have the chance to get some stunning photographs of the animals on the lichen covered rocks. One potential problem to watch out for are the trees on a distant rise behind the ledge. By positioning your camera a little lower, you change the angle of your shot to only include sky and eliminate any pesky trees that might try to grow out of the animal’s head. Not all of the photography compounds have washroom facilities but Compound 1 has an outhouse. For the winter months, Triple D also has a warming tent set up. This helps photographers warm up between shoots and enjoy a snack or cup of hot chocolate.

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Compound 2 Depending on traffic, and how long it takes you to safely turn left onto Reserve Drive, it can take 20 to 25 minutes to drive to Compound 2 (see the Appendix for a map and driving directions). After arriving at the compound, you will drive down a short dirt road to the parking area. There isn’t a lot of room for automobile parking at this location so you’ll want to consider car pooling. Depending on the season, the dirt road between Bayou road and the compound can be rutty and/or muddy. In the spring and early summer a small stream runs across the road and you’ll also have to drive through that in order to get to the parking area. So if you have the chance, either take your four-wheel drive vehicle or hitch a ride with someone driving a SUV or similar four-wheel drive vehicle. Taking a low riding sedan on that dirt road in the wrong conditions is asking for trouble. Unlike Compound 1, there are no washroom facilities at Compound 2. Like Compound 1, this area features numerous shooting locations with more being added all the time. While there are still fences encircling the shooting locations, you usually don’t have to worry about them being in your photographs. Compound 2 features a number of shooting locations that include water. Water allows you to make photographs capturing reflections, an animal’s interaction with the water, or even raccoons washing their food in the water. Several of the water areas also have old logs and stumps positioned along and in the water for the animals to work on. On a day with very bright light, these logs will photograph quite hot. Wetting down the log or stump is generally a good solution for this problem. Don’t try to do this yourself, but if it’s a problem discuss it with the group leader or the Triple D trainers who will work with you and attempt to take care of your concern. One of the photography areas features a short 3 foot fence that you will shoot from behind. Many of the larger animals are worked in this area and for extra protection, a strand of electric fence runs along the inside of the 3 foot fence. You need to be careful when positioning your tripod that you don’t have it leaning against the electrically charged strip. If you do, you might get a safe, but eye opening jolt.

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Triple D Photography Areas The photography areas at Triple D are a short walk from the office area. These are specialized areas used for specific photography situations. One of the photography areas is fenced on the top as well as all four sides and is used for photographing animals such as fishers or pine martens. You will most likely be shooting from a sitting position on the ground with your back against the fence. In the winter, snow can be quite numbing to whatever area of your body you’re sitting on so consider bringing a small foam pad to insulate yourself from the cold. Because you’re in a relatively tight enclosure, watch out for the fence along the sides. Don’t forget to swap positions with others in your group so everyone gets a turn in all the shooting locations. Another filming area at Triple D is a larger compound that features a tall fence. The fence has an opening from about 4 - 6 feet in height that allows you to position your tripod for your camera to shoot through. This photography area goes around a corner allowing you to photograph in westerly or southerly directions. Depending on the light at the time of your shoot, both can have their advantages. With larger predators you will probably be positioned outside this fence but with smaller or baby animals you will most likely be photographing from inside the fenced area. Although this is a rather large location, the fence around the perimeter loves to sneak into pictures. Again, most tripods are not bolted to the ground allowing you to move it around. Trade places with others in the group and allow everyone to work with the best light or angles where the animal is working. Not surprisingly, there are washroom facilities available at the Triple D offices. Additionally, you’ll find a conference room for workshops and presentations, a sitting area with a couple of comfortable couches and a fridge stocked with beverages that you can purchase at reasonable prices.

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Other Kalispell Photography Attractions In addition to Triple D, there are a number of fantastic photography opportunities available in the Kalispell area. A trip to nearby Glacier National Park with a drive on the Going to the Sun Road to Logan Pass should not be missed. There are countless opportunities to make both wildlife and landscape photographs. Kalispell is located in the Flathead Valley with the valley surrounded by mountainous terrain. Wildlife is abundant in the rural areas and for a photographer with an interest in landscape photography, the possibilities are literally limitless. Kalispell is a seven hour drive from the world famous Yellowstone National Park where photography opportunities abound. If you plan on spending some time in the Kalispell area and are looking for photography ideas, I’d recommend picking up one of the various guide books available at the traditional book stores.

Conclusion You are going to have a great time at Triple D and come away with some memorable photographs. Jay and Kim Deist, along with the staff at Triple D, are incredibly generous hosts providing a tremendous service to the photography community. The staff and trainers at Triple D work very hard to make sure their guests come away with the best possible experience. Please consider tipping the staff and trainers. Many groups that I’ve been a part of have one person collect a tip from the participants and then put it together with a thank-you card and present it to Jay Deist, the owner of Triple D, for distribution to his staff. By reading this guide, you are well on your way to getting the most out of your Triple D photo shoot and amassing an impressive portfolio of wildlife surrogate subjects. Bring the right equipment, prepare for the weather, slow down to think before you shoot and know the characteristics of the species you are photographing. A little preparation will help you maximize the investment you made. I am happy to respond to any questions or comments you might have about Triple D or this guide. Please e-mail me at [email protected] and I will do my best to get back to you in a timely manner.

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Appendix - Driving Directions to Photography Compounds

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Index A

Accommodations 5 camping 6 hotels 6 Triple D Guest Cabin 5 airport 5 AI-Servo 15 amputation 18 Amtrak 5 animal trainers 18 anticipating behavior 18 aperture priority mode 12 aperture setting 14 appendix 34 arctic foxes 28 autofocus 15 average temperatures 10 AV or aperture priority 12

B

babies 28 baby animals 28 backgrounds 14 badgers 28 ballheads 8, 17 bar graph 25 batteries 7 battery life 13 battery pack 8 bears 27 behavior 15 best fur coats 9 bobcats 28 body sprays 11 boots 9 bracketing 14 bug resistant clothing 10

C

cabin 5 camera exposure modes 12 camping 6 canada lynx 28 catch-light 13, 17, 21 center-weighted metering 13 cleaning supplies 8 clumsy 29 comments 33 condensation 9 Continuous-Servo AF 15 correct histogram 25 cougar 27 coyotes 27 cute 29

D

deodorant 11 depth-of-field 14 directions 34 dirt road 31 dynamic range 25

E

electronic flash 8, 13 e-mail me 33 emergency 11 environmental shots 14 Equipment 7 ballhead 17 batteries 7 bug repellent 10 camera bodies 7 cleaning supplies 8 film 7 flash 8 gimbal tripod head 8, 16 hand warmers 9 knee pads 9 lenses 7 memory card 7 Memory Card Case 7 monopod 8 personal storage devices 7 polarizer 8 PSD 7 rain gear 10 snow pants 9 stool 9 tripod 8 evaluative metering 13 exposure 12, 14 exposure bracketing 14 eye level 17 eyes 17

F

fall 10 fence 32 fences 30 film 7 fishers 28 flash 8, 13 flash bracket 8 flash exposure compensation 13 focussing 16 four-wheel drive 31 foxes 27 frugal 5

G

gimbal tripod head 8, 16 Glacier National Park 5, 33 Glacier Park International Airport 5 gloves 9 Going to the Sun Road 5 grizzly bears 27

H

hand-holding 16 hand warmers 9 Highway 2 5 Highway US 93 5 histogram 14, 25 hotels 6 hot weather 18 howling 5, 27

ear tufts 28 electric fence 31 Triple D Tips, Tricks and Techniques

I

image stabilization 15 insects 10 introduction 4

J

Jay and Kim Deist 33 Jobu-Design 16 juvenile animals 28

K

Kalispell 5 Kirk Enterprises 17 knee pads 9, 10

L

landscape 15 ledge 30 lenses 7 location 5 locations 30 long nose 14 lynx 28

M

maps 4, 5, 34 martens 27 matrix metering 13 memory card 7 memory card case 7 metering 13 monopod 8 mosquitoes 10 mountain lion 27 moving 17 multi-segmented metering 13

O

orientation meeting 4 outhouse 30 Owners 4 Jay and Kim Deist 33

P

panting 23 perfect histogram 25 perfume 11 personal storage devices 7 pine martens 27 playful 29 polarizer 8 porcupines 28 portrait 15 precautions 11 Problems 20 awkward crop 23 bright background 23 distracting background 22 distracting elements 20 eye level 21 no eye contact 21 no highlight detail 24 nothing compelling 24 not in focus 20 panting 23

shooting down 23 PSD 7 puma 27

R

raccoons 28 rain gear 10 Really Right Stuff 17 reflections 18, 31 repellent 10 righty brighty 25

S

safety 11 session length 18 sharp images 16 shutter priority mode 12 shutter release technique 17 siberian lynx 28 skunks 28 snow leopards 27 snow pants 9 spot metering 13 spring 10 stalking 27, 28 stare 27 stool 9 stream 31 summer 10 SUV 31

T

The Original Bug Shirt 10 tigers 27 toe warmers 9 Triple D offices 5 tripod 8, 16 tripod heads 16 tripod ring 15 TV or shutter priority mode 12

V

vehicle suggestion 31 vibration reduction 15

W

washroom facilities 31, 32 water 18, 31 Whitefish 5 Wimberley 16 winter 9 winter boots 9 wolf 27 wolverines 28 wolves 27 wrong histogram 25

Y

Yellowstone National Park 33 young animals 29

35

Triple D Tips, Tricks and Techniques

36