Claiming no special knowledge of the technique of pure photography, I
would refer the beginner to any of the several excellent books designed
to explain the rudiments of optical and chemical photography, and to
instruct in regard to the matters of exposing, developing, printing,
etc. Only such suggestions are given here, therefore, as relate directly
to the manner in which birds, their nests, eggs, and haunts may be
photographed.
_Haunts._—Photographs of the characteristic haunts of birds should show
not alone general topography, but should also be made with special
reference to the bird’s feeding habits, which, more than anything else,
govern the nature of the locality selected. Thus, a photograph of the
home of the Woodcock would have added value if, in the immediate
foreground, the “borings” made by this bird in probing the earth for
food were evident; or a marsh scene, in which wild rice was conspicuous,
would tell something of both the haunts and the food habits of the
Reedbird and Red-winged Blackbird in August and September. In a similar
way, pictures of wild cherry and dogwood trees, of bayberries and red
cedar, which show both fruit and surroundings, are of interest in
connection with the biographies of many birds.
[Illustration: 8. Spring.]
[Illustration: 9. Summer.]
_Seasons._—The camera permits us to make so exact a record of the rise
and fall of the year, as it is registered by vegetation, that we can
actually compare existing conditions with those which prevailed at any
previous time. Compare, for example, the series of four pictures^{8–11}
here presented, all made from the same point of view, in order to
appreciate how graphically seasonal changes may be shown by the camera.
In this instance, photography is of more service to the botanist than to
the ornithologist; but every student of migration knows how closely
related are the appearance of certain birds and flowers, and will
readily appreciate, therefore, the value of a series of photographs of
several different subjects, taken at short intervals, and showing the
changes in vegetation due to the approach of summer or winter. In
connection with such related phenomena as temperature, rainfall, and
weather, these pictures form as accurate a record of the seasons as it
is possible to make, and if data of this kind could be brought together
from many selected localities, we should have an admirable basis for the
intelligent study of certain phases of bird migration.
[Illustration: 10. Autumn.]
_Nests and Eggs_.—The photographing of nests is one of the simpler forms
of bird photography, but in many instances success is achieved only
through the exercise of much patience and ingenuity.
[Illustration: 11. Winter.]
It should constantly be borne in mind, in photographing nests, that what
is desired is not so much a picture of the nest alone as one which shows
it in relation to its environment—in short, a picture of the nesting
site is of more value than one of the nest only. It is advisable,
however, to make at least three pictures, two^{12, 13} of which shall
show the nature of the locality chosen, the other^{14} the character of
the nest and its immediate surroundings. When the nest is not above five
feet from the ground, little difficulty will be experienced in securing
the desired picture. When on the ground it will sometimes be found
helpful to put what naturally would be the rear leg of the tripod
forward, _between_ the other two, when it will serve as a brace from in
front, and permit the camera to be tilted well downward without danger
of its falling.
Nests at an elevation of seven or eight feet, in saplings, may be
photographed by lengthening the tripod with short legs, each supplied
with two staples or collars into which the ends of the tripod may be
slipped; or a ladder or light scaffolding will sometimes be found
necessary.
[Illustration: 12. To show nest locality of: 1, Tree Swallow; 2,
American Bittern; 3, Song Sparrow; 4, Maryland Yellow-throat; 5, Marsh
Hawk, of which nesting site, nest, and young are shown in the two
following pictures, Nos. 13 and 14. Meridian, N. Y., June 8, 1898.]
For photographing nests in trees the “Graphic” ball-and-socket clamp is
of great assistance. With it the camera may be attached to a limb, or,
if the limb is too large, a block may be nailed to it, thus furnishing a
grip to which the clamp may be fastened.
[Illustration: 13. Nesting site, nest, and young of Marsh Hawk.]
Nests should be photographed from the side, but eggs should be
photographed from above in order to show their position in the nest as
they were arranged by the incubating bird. The nest should therefore
never be tipped, nor should the eggs be touched, lest the value of the
subject be destroyed. The markings of most birds’ eggs are already well
known, but if photographs of them are desired they can be made from the
thousands of eggshells with which ill-directed effort has stocked the
cabinets of misguided oölogists.
[Illustration: 14. Young Marsh Hawks and nest.]
It is not advisable to make photographs of nests in the sunlight, a
diffused light giving greater detail. A screen of some thin white
material should therefore be used as a shade when photographing nests
exposed to the direct rays of the sun. This, however, will not be found
necessary if the picture be made within two or three hours after
sunrise, when the light is soft and the foliage comparatively
motionless, permitting the use of a small diaphragm and a long exposure.
[Illustration: 15. Young Great-crested Flycatcher.]
_Young Birds._—The ease with which photographs of young birds may often
be secured, the fact that with the camera their appearance and
development may be more satisfactorily recorded than in any other way,
makes their study by the photographer of exceeding importance.
Photographs of young birds should of course be accompanied by notes on
food, calls, special actions, etc., which the camera can not well
portray.
The young bird is a worthy subject from the moment it leaves the shell
until, as far as flight is concerned, it deserves to be ranked with its
elders. When possible, series of pictures should be made showing the
rate of growth of the same brood from the period of hatching to the date
when the nest is deserted. Circumstances do not, however, often permit
of the forming of these ideal series, and we must therefore photograph
the young bird as we find him, either before or after^{15} he has made
his initial flight, or as he is preparing for it.^{16}
The suggestions made under the head of Birds’ Nests and Eggs will apply
in a general way to photographing young in the nest; but even when at
rest in other respects, the rapid respiration of nestlings requires a
quick exposure to insure sharpness of outline, and, when in the shadow,
sufficient illumination can be secured only with the aid of a reflector.
[Illustration: 16. Young Baltimore Orioles and nest.]
_Adult Birds._—It is in photographing birds in the full possession of
the powers of maturity that the bird photographer’s skill and patience
are put to the most severe tests. It might be said that, from a strictly
ornithological point of view, the results obtained do not in many
instances justify the time expended. Success, however, in this field, as
in many others, is not to be measured by the attainment of a certain
end, but often by the experience gained in what, to one having only the
ultimate object in view, may seem to have been fruitless effort.
In matching one’s ability as a hunter against the timidity and cunning
of a bird, relations are established between the photographer and his
subject which of necessity result in their becoming intimately
associated.
[Illustration: 17. Wood Thrush on nest.]
Doubtless we shall never know just what birds think of the peculiar
antics in which the camera enthusiast sometimes indulges, but certain it
is that an attempt to photograph some of the most familiar and
presumably best-known birds will open the photographer’s eyes to facts
in their life histories of which he was previously in utter ignorance.
As a known and fixed point to which the bird may be expected to return,
the nest offers the best opportunity to the bird photographer, and
photographs of adult birds on or at their nests are more common than
those taken under other conditions.^{17, 18}
[Illustration: 18. Chestnut-sided Warbler on nest.]
Birds vary greatly in their attitude toward a camera which has been
erected near their homes; some species paying little attention to it,
and, after a short time, coming and going as though it had always been
there, while others are suspicious of any object which changes the
appearance of their surroundings.
With the latter special precautions are necessary, and unusual care
should be taken in working about their nests lest they be made to desert
it. The long-focus lens is here of great service, for it enables one to
secure a sufficiently large image from a distance of ten or twelve feet.
Even then it will often be necessary to conceal or disguise the camera
by covering it with the green dark-cloth, vines, and leaves. A rubber
tube or thread of requisite length is then attached and the exposure is
made from a distance.
A dummy camera, composed of a box or log wrapped in a green cloth and
placed on a tripod made from saplings, may sometimes be erected to
advantage several days before one expects to attempt to photograph the
bird, who in the meantime becomes accustomed to it and quickly returns
to the nest after the real camera has been substituted.
The artificial tree trunk would doubtless be of assistance in some kinds
of bird-at-the-nest photography, especially when one desired to secure
pictures of the old bird feeding its young, and was obliged therefore to
make the exposure at just the proper moment. In most instances, however,
there is sufficient undergrowth in the immediate vicinity to afford
concealment, from which with the aid of a glass one may take note of
events.
With the reflecting camera one may stalk birds on foot or with a boat,
or “squeak” them into range by kissing the back of the hand vigorously,
a sound which, during the nesting season especially, arouses much
curiosity or anxiety in the bird’s mind.
The decoys, blinds, batteries, sneak boxes, etc., of the sportsman are
also at the disposal of the hunter with a camera, though I must admit
that my one outing to photograph bay birds over decoys resulted in an
empty bag. It was in the spring, however, when the bay birds surviving
had experienced two shooting seasons and were exceedingly wild. In the
fall, with birds born the preceding summer, one might be more
successful.
Birds may be sometimes brought within range of the camera by baiting
them with food, and, after they have learned to expect it, placing the
camera in suitable position. This may be most easily done when there is
snow on the ground, at which time hunger makes most birds less
suspicious of danger.
[Illustration: 19. Catbird scolding.]
From a considerable experience which, through poor equipment, has not
yielded adequate return, I am convinced that one may secure excellent
pictures of many birds by decoying them with either a mounted or living
Owl; doubtless the latter would be preferable, though I have never tried
it. With a poorly mounted Screech Owl, however, I have had some
excellent opportunities to photograph. My plan is to select some spot
where birds are numerous, preferably near the home of a Catbird,^{19}
place the Owl in a conspicuous position, and erect near it a “scolding
perch,” from which the protesting bird may conveniently vituperate the
poor unoffending little bunch of feathers with its staring yellow eyes.
The camera is then focused on the scolding perch and the photographer
retires into the undergrowth, and, bulb in hand, waits for some bird to
take the desired stand.
A Catbird’s domain is chosen for the reason that this species is the
alarmist of whatever neighborhood it may inhabit, and once its attention
has been attracted to the Owl by “squeaking” or uttering the alarm notes
of other birds, the photographer may subside and let the Catbird do the
rest.
The bird’s rage is remarkable, its fear painful. Should the Owl be near
to the Catbird’s nest it will utter notes in a tone of voice I have
never heard it use on other occasions. It loses all fear of the camera,
and from the scolding perch screams at the Owl with a vehemence which
threatens to crack its throat. One is glad to remove the offending
cause.
Other birds in the vicinity are of course attracted, and hasten to learn
the meaning of the uproar. Often a bit of undergrowth, of which the
Catbird was apparently the only feathered tenant, will be found to
possess a large bird population. It is interesting to observe the
difference in the actions of various birds as they learn the reason of
the disturbance. On the whole, each species displays its characteristic
disposition in a somewhat accentuated manner. The Blue-winged Warblers
flit to and fro for a few moments and then are gone; the Chestnut-sided
Warbler is quite anxious; the Maryland Yellow-throat somewhat annoyed;
the Ovenbird decidedly concerned; the Towhee bustles about, but seems to
pay no especial attention to the Owl; the Wood Thrush utters its sharp
_pit-pit_, but is content to let well enough alone if its own nest be
not threatened; and the Yellow-throated, Red-eyed, and White-eyed
Vireos, particularly the latter, add their complaining notes to the
chorus of protests. Not one, however, approaches the Catbird in the
force of its remarks, nor does the bird cease to outcry so long as the
Owl is visible.
It is felt that in the foregoing suggestions the methods which may be
employed by the bird photographer are very inadequately described, but,
as was remarked in the preface of this volume, the constantly varying
circumstances attending his work practically prohibit duplication of
experience.
In truth, herein lies the great charm of animal photography. We have not
to follow certain formulæ, but each subject presents its own individual
requirements, making the demands on the naturalist’s skill and patience
limitless and success proportionately valuable.