Photographing static objects like bowls of colourful fruit on black Perspex with a stained glass backdrop casting multi-coloured washes across the image is relatively easy - Oh boy, I could be in trouble, I can't believe I just said that? I can just imagine hundreds of 'still life' and portrait photographers saying 'What did he just say, did I hear easy? Who is this guy?'
It is an accepted fact that photographing children and animals is reserved for the brave hearted - with oodles of patience and possibly some encouragement from Jack Daniels. I'm not sure who should take the credit for the phrase 'If you're looking for an organised and a tranquil shoot - stay away from children and animals', but whoever uttered that profundity knew what they were talking about. By the same token there are many photographers and movie makers who have stacked their awards on the mantle piece by producing stunning work.
Don't get me wrong, I'm not trying to prevent you from taking pictures of your Jack Russell or your little toddler or even the neighbours' parakeet - if you're doing it for fun that's cool, but if you decide to take the subject more seriously, you're going to need some help.
The truth is if you're shooting in a controlled environment, you'll most probably have your camera mounted on a tripod with a bunch of assistants moving in and out tweaking the lights, dressing the shot meticulously through the lens creating a relaxed environment. The classic studio shoot. But you have to agree that photographing a Leopard chasing his lunch is a totally different ball game. Hitting a static target at the shooting range is difficult enough, but it takes a special skill to hit the same target if it's on the move. Moving objects create a whole new set of problems and mindset. Instead of the luxury of a composed lit frame with exact apertures and wide lenses, you are thrown into unpredictable moves that directly impact on your film speed, your focus, the amount of available light and the choice of lens. It also drastically increases the production of endorphins that jack up your adrenaline level.
Without getting hugely technical, for you to get a good shot of a moving Leopard, you have to be on a rapid-fire camera with a 100mm to 300mm lens, which is extremely restricting even for the more experienced photographer. If your subject is moving fast you have to frame, focus and fire on the fly (as they say) the majority of time, hoping to God you got it.
Longer lenses need more light than wider lenses. Most wide angle lenses have apertures of between 1.8 and 2.8, whereas 300 to 500mm lenses start with an aperture of between 5.6 & 11- so you do need light. If there isn't the required light aperture, you need to be on very fast film in order to enhance the available light and capture a hit-and-miss series of frames that you will either ditch in the bin or leave the podium carrying the award. Forgive me I'm a kind of purist when it comes to technology, I'm certainly up to speed with digital technology, but the test of the real artist, be it stills or movies - when it comes to measuring the heat of a light, understanding apertures and speed and what the latitude of a film emulsion does for the end product - is the ultimate art.
Okay, so where are we going with this? I suggest you start practicing on Peefer the parrot to get the feel of a moving object. You must understand that Peefer, your Labrador, your child or any other uncontrollable subject is not going to do what you want them to do - so if Peefer offers you a great profile shot, you can put money on it that as you hit the shutter, he will drop out of frame or give you a beautiful close-up of the back of his head. It takes a lot of practice and even more patience to get the perfect shot.
If you really want to learn about composition and action framing, take yourself and your camera off to the local sports stadium and snap at athletes or baseball players in action - it'll be your first step to shooting wildlife stills. Let me know how you do.
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