Favorite Wildlife Experience - Young Fox Kit by Todd Henson

Red Fox Kit - Watching You

One of my favorite wildlife experiences was observing a small family of red foxes at their den site. It was located just off the trail of a wildlife refuge I frequent, making it very easy to watch these beautiful animals. The young pups were frolicking around just as young puppies would, often turning to look at us, curious but not at all afraid.

In the evenings the young kit were just emerging from their den, full of energy and playful, ready to start their day. Unfortunately the sun was setting just behind them, which created very difficult and harsh lighting when trying to photograph them. But in the morning before the sun cleared the trees they could be bathed in a very soft, pleasing light. The photos here were all created on the same morning.

Red Fox Kit - Sleeping #1

Early morning for the fox kit was like late evening for us. They were more lethargic, ready to curl up and sleep. I’ve always enjoyed being present when an animal chose to fall asleep right in front of me, even while knowing I was there. It meant the animal was comfortable with my presence, it didn’t see me as a threat. Granted, young pups like this don’t see much of anything as a threat, but it was still a great experience watching them rest.

Red Fox Kit - Sleeping #2

The morning I photographed this particular pup was the last morning people were able to observe them at the den site. When they first emerged there were few of us who knew about them, so only a couple visited at a time. And most of the early visitors were regular visitors of the park, so they knew a little about wildlife and knew how to behave around it, keeping quiet, keeping your distance, not spending too much time there during any visit. But eventually word got out and people who never ventured to the park were showing up in droves to see the young fox.

Red Fox Kit - Resting

On this morning a large group of people had shown up, many who were unfamiliar with fox, some who thought it might be ok to approach and try to pet the young fox (they had to be dissuaded from trying). Others were only concerned with snapping pictures. They were making noise and moving around too fast trying to get the attention of the fox, but in the end they frightened some of the pups back into the den.

My brother and I stayed away from the crowd. There happened to be a single pup curled up at a distance from the den. No one was paying attention to it. We spent a very short time photographing this young fox, trying to stay quiet and still, not drawing the attention of others, and also not disturbing the fox. As you can see the young kit curled up and closed its eyes a number of times, telling me we were doing it right.

Red Fox Kit - Watchful #2

As the crowd grew we packed up and left, not wanting to contribute to the growing problem. By the next day the park service had blocked access to the road, and kept it blocked until the fox had left the area. I was disappointed because I very much wanted to spend more time with these wonderful animals. But the den was just too close to the trail and word of it had spread too far. The park service was right to close off access.

Red Fox Kit - Watchful #1

These are the only young fox I have ever had the good fortune to observe and photograph. I hope one day I will have a similar opportunity, and maybe in a location that doesn’t attract so many people. Have you had a similar experience? What was your favorite wildlife moment?

All of these photographs are available for purchase as wall art or on a variety of products.


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Steve McCurry: The Iconic Photographs by Todd Henson

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Limited edition of Steve McCurry: The Iconic Photographs, along with its slipcase.

Limited edition of Steve McCurry: The Iconic Photographs, along with its slipcase.

Steve McCurry: The Iconic Photographs is an absolutely stunning collection of photographs by a photographer who has created a number of images that I would certainly consider iconic. He is probably best known for his photograph of an Afghan Girl, created in Peshawar, Pakistan in 1984. I remember when this graced the cover of National Geographic. I, as so many others, was immediately taken in by her piercing green eyes, and the green and red contrasts between her eyes, her clothing, and the background.

Steve McCurry: The Iconic Photographs. Afghan Girl, Peshawar, Pakistan, 1984.

Steve McCurry: The Iconic Photographs. Afghan Girl, Peshawar, Pakistan, 1984.

Many of Steve McCurry’s most striking photographs are posed portraits of people. He does such a great job of conveying emotion in his portraits, of really bringing the people to life. Examples of this are his portrait of a Woman With Coral Earrings, created in Lhasa, Tibet in 2000, and of his portrait of a young Pilgrim at Kumbh Mela, created in Haridwar, India in 1998.

Steve McCurry: The Iconic Photographs. Woman With Coral Earrings, Lhasa, Tibet, 2000. Pilgrim at Kumbh Mela, Haridwar, India, 1998.

Steve McCurry: The Iconic Photographs. Woman With Coral Earrings, Lhasa, Tibet, 2000. Pilgrim at Kumbh Mela, Haridwar, India, 1998.

But McCurry is also a master of photographing street scenes of people going about their daily lives. There are stories in his photographs, as seen in Boy in Mid-Flight, created in Johdpur, India in 2007. Where is this boy running to? What is around the corner? I love the composition and the color contrasts.

Steve McCurry: The Iconic Photographs. Boy in Mid-Flight, Jodhpur, India, 2007.

Steve McCurry: The Iconic Photographs. Boy in Mid-Flight, Jodhpur, India, 2007.

In one photograph we see people walking down the flooded streets of Chandni Chowk in Old Delhi, India, while a street vendor tries to keep his goods dry. In another people walk down train tracks in Bangladesh. The folks on the train tracks all have similar colored clothing, but the person walking in the grass stands out for his more colorful shirt contrasted against the green grass and the blue storm clouds in the sky. We see school girls in Sri Lanka seemingly transfixed by their teacher. And we see dancers at Preach Khan in Angkor, Cambodia, wearing their colorful outfits of gold and red.

Steve McCurry: The Iconic Photographs. Chandni Chowk, Old Delhi, India, 1983. Train Track, Bangladesh, 1983.

Steve McCurry: The Iconic Photographs. Chandni Chowk, Old Delhi, India, 1983. Train Track, Bangladesh, 1983.

Steve McCurry: The Iconic Photographs. Schoolgirls, Kegalle, Sri Lanka, 1995. Dancers at Preah Khan, Angkor, Cambodia, 2000.

Steve McCurry: The Iconic Photographs. Schoolgirls, Kegalle, Sri Lanka, 1995. Dancers at Preah Khan, Angkor, Cambodia, 2000.

As these sample images show, most of Steve McCurry’s images involve people, sometimes in portraits, sometimes busy going about their lives oblivious to the camera, other times in their environment but fully aware of the camera. In each photograph we get a short glimpse into one of the stories of their life, a brief but telling moment in time. Maybe it is a girl in her flooded front yard. Or a girl cooking in her home, with beams of light shining down from nearby windows. Or a man reading a newspaper while waiting for a train, shadows stretching across the ground. In each case we’re drawn into their world. It’s no wonder McCurry was such a frequent contributor to National Geographic.

Steve McCurry: The Iconic Photographs. A Girl in Her Front Yard, Bojonegoro, Java, Indonesia, 1983.

Steve McCurry: The Iconic Photographs. A Girl in Her Front Yard, Bojonegoro, Java, Indonesia, 1983.

Steve McCurry: The Iconic Photographs. Girl Cooking, Uttarakhand, India, 2009.

Steve McCurry: The Iconic Photographs. Girl Cooking, Uttarakhand, India, 2009.

Steve McCurry: The Iconic Photographs. Train Station Platform, Old Delhi, India, 1983.

Steve McCurry: The Iconic Photographs. Train Station Platform, Old Delhi, India, 1983.

I was fortunate to purchase the limited edition version of Steve McCurry: The Iconic Photographs, when it first came out from Phaidon Press. It is far and away the largest photography book I own, measuring about 15 x 20 inches. As seen in the samples it is a portrait format book, being taller than it is wide. This works perfectly for the portraits, displaying a single photograph on a page. It does mean, though, that landscape photographs span two pages.

Steve McCurry: The Iconic Photographs. Shikaras on Dal Lake, Srinagar, Kashmir, 1999.

Steve McCurry: The Iconic Photographs. Shikaras on Dal Lake, Srinagar, Kashmir, 1999.

Steve McCurry: The Iconic Photographs. Stilt Fishermen, Weligama, Sri Lanka, 1995.

Steve McCurry: The Iconic Photographs. Stilt Fishermen, Weligama, Sri Lanka, 1995.

Steve McCurry: The Iconic Photographs was republished in 2012 in a smaller, more affordable format, measuring about 11 x 15 inches, which I still consider a large format book. It is 272 pages in length and contains 164 photographs McCurry created between 1980 and 2009. The photographs stand on their own without any text to distract from them. In the back of the book are several pages with a small bit of info about each photograph.

I highly recommend this book. I think it’s a fantastic collection of Steve McCurry’s photographs, possibly the best out there. It would be a great addition to the library of any Steve McCurry fan, and would also be a fantastic introduction to his work.


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Focal Length Affects Perspective by Todd Henson

Different focal lengths alter the perspective within the frame.

If you’re like me one of your first lenses was a zoom lens. These can be very useful and very convenient, giving you a lot of options in framing your shot. But you may have also fallen into one of the traps I did, lazily using a zoom lens to change the framing of the shot without thinking about how the different focal lengths affect the perspective within the frame.

Take a look at the photographs in this post. What they are intended to show is how different focal lengths alter the perspective within the frame. If we can learn this lesson zoom lenses become even more powerful tools, letting us more intentionally choose a focal length to alter how the image looks, how one element in the frame relates to another, instead of just choosing what to include and exclude from the frame.

Example: Wide Angle Focal Length

A wide angle focal length (22 mm) stretches out the perspective, pushing the foreground and background further apart.

Wide angle focal lengths, such as 22 mm, are often used to include more of the scene. But they also have a way of making an object that is close to the camera look very far away from an object in the distance. They stretch out the perspective.

Notice in the 22 mm image how small the distant waterfall is compared to the nearby waterfall.

Example: Normal Focal Length

A “normal” focal length (50 mm) more closely resembles the perspective our eyes see.

The 50 mm focal length has an effect very similar to what we see with our eyes. The perspective is very natural. That’s why focal lengths in this range are very popular for street photography.

Compare the 50 mm image to that of the 22 mm image. Notice how the waterfalls appear closer together in the 50 mm image. Also notice how the distant waterfall is larger than it was in the 22 mm image. The perspective is compressing.

Example: Telephoto Focal Length

A telephoto focal length (80 mm) compresses the scene, bringing the foreground and background closer together.

The 80 mm focal length is at the small end of the telephoto range. Telephoto focal lengths are often used to pick out details in a scene, allowing you to exclude non-essential elements and “zoom” in on the real subject. But they also allow us to compress the perspective.

Look closely at the 80 mm image. Notice how much closer together the waterfalls are when compared to the other images. Also notice the relative sizes of the waterfalls. They look close together and similar in size. This is the compression effect caused by a longer focal length.

Conclusion

Zoom lenses are great tools not only because they let us zoom in and out, quickly framing a shot, but because they include so many different focal lengths allowing us to alter the perspective within the image to suit our vision. Start thinking intentionally about how you want the scene to look.

Use focal lengths intentionally to create the perspective you envision.

Do you want your subject to look very large compared to the background? Then use a wide angle focal length and get close to your subject. This will make the subject look large in the frame and push the background further into the distance.

Do you want to make your subject look very close to the background, maybe a mountain or monument? Then use a telephoto focal length to compress the scene and make the background look much closer to the subject.

Sometimes it’s very useful to zoom with your feet instead of with the zoom lens. Pick a focal length on the zoom lens to give you the desired perspective, then move with your feet to position yourself in the correct place to line up the subject with the background.

Now it’s your turn. Head out with a zoom lens, or with multiple prime lenses, and use the different focal lengths intentionally to alter the perspective within the image. Experiment, see what you can come up with, and have fun!


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