Photo Fix Or Photo Fraud?

I was able to digitally remove the mud, restoring a close approximation of what the chicks' reflections looked like behind the mud.

I took this photo last year of a black-necked stilt and her three young chicks. I had set up in my usual position, with my lens close to the water surface in order to achieve a more intimate eye-level perspective. I was happy with the shoot and this shot in particular, showing all three chicks together with the mother standing protectively over them.

The only thing that bothered me each time to looked at it was the out-of-focus mud bank just peaking up into the frame. It had not been a concern when I was shooting the mother by herself, but once the chicks were introduced to the scene, the mud cut off parts of their reflections and became a distracting element.

The original image included a distracting mud berm obstructing the reflections of the chicks.
The original image included a distracting mud berm obstructing the reflections of the chicks.

This week I took another look at the shot and realized I might be able to pull off digitally removing the mud feature, and finally fulfilling my original vision. The result is below.

I digitally removed the entire mud bank across the bottom of the photo, and restored portions of each chick’s reflections to rebuild what had been hidden behind the mud. While I was at it, I removed a distracting out-of-focus blade of grass from the left hand side of the photo.

I was able to digitally remove the mud, restoring a close approximation of what the chicks' reflections looked like behind the mud.
I was able to digitally remove the mud, restoring a close approximation of what the chicks’ reflections looked like behind the mud.

Was my change acceptable? Ethical perceptions of photography range wildly. Each photographer and photo critic sits somewhere on the spectrum from thinking that photography is merely a form of art so it is up to the artist’s vision, to thinking that any changes to what was captured by the camera is unethical and not acceptable.

In fact, ethics in photography cover topics other than just post-processing manipulation (which probably gets 80% of the attention). Even when a photograph represents accurately what a camera captures, it does not mean that the scene wasn’t artificially created by the photographer.

I think the judgment lies in how the photograph is presented to the audience. Is this presented as a work of art created in the mind of the photographer? Is it a natural history image, meant to accurately depict a natural scene or behavior? Do the digital edits in any way change the fundamental portrayal of that natural scene or behavior?

For example, in the digitally altered image presented in this article, if I had artificially inserted any of the chicks into the scene with the mother in order to create more emotional impact, that would go beyond what I consider an ethical representation of my work. It would be depicting a behavior in a species that never actually took place. However, the edits I have made fall inside what I consider ethical. I have not changed the position or behavior of any of the subjects of the photo. I have only removed an aesthetically distracting element in order to create a more pleasing photo.

What do you think? I’d love to hear your opinions on the matter.

Use What Ya Got

A yellow garden spider waits patiently on its web for prey to get caught
A yellow garden spider waits patiently on its web for prey to get caught

Throughout the year, we see these yellow garden spiders spinning their webs around our front garden. I came across this nice specimen and wanted to capture him on my camera. However, lacking any real macro gear, I had to figure out how to make do with what I did have on hand. If I had my choice of any equipment I wanted for this shot, I would have used:

1. A small tripod with a swing arm (to get close to the web which was inconveniently placed between some hard-to-reach plants)
2. A Canon 180mm macro lens (so I could keep my distance from the creepy spider)
3. A focusing rail (to achieve that manual pin point focus on the beast)

However, I had none of that. What I did have was a 100-400mm zoom lens (non-macro). None of my tripods work work well in this area because of the spacing of the plants, so I was stuck hand-holding. In order to increase the magnification, I was able to reduce the lens’ minimum focusing distance using 3 stacked extension tubes. This allowed me to move the lens closer to the subject, filling the frame with only the spider.

Because I was not using a tripod, I had to keep the shutter speed relatively fast. That meant a larger aperture, and a smaller depth of field than I would have otherwise used (f/8 in this case). In order to compensate, I decided to try the digital technique of focus stacking to achieve the look of a larger depth of field. This image is actually a composite of two shots – one focusing on the spider’s abdomen, and the other focusing on the legs. The sharpest part of each image was blended together.

So, after all applying all these work-arounds, what is the moral of the story? Get some decent macro equipment! 🙂

Prepare For Landing

An american avocet spreads its wings to come in for a landing
An american avocet spreads its wings to come in for a landing

Most of the bird images I take tend to be portrait-type images. The reason for this is situational – like it or not, birds do a lot of standing around. While these static shots are great for exploring the finer details of a bird’s plumage, they show little of a bird’s behavior. That’s why whenever possible, I try to capture birds in action. Whether it be flying, foraging or fishing, photographs of birds in action can tell a more complete story about that species, as well as show off details that may otherwise be hidden.

Feet extended, a brown pelican skies across the surface of the water as it lands
Feet extended, a brown pelican skies across the surface of the water as it lands

One of my favorite action shots is the landing. When a bird comes in for a landing, the body tends to be more upright, which allows the underside of the wings to be angled toward the lens. The bird needs to stop both its downward and forward momentum, causing the wings to fan out at their maximum surface area, as shown in the first photo above.

Because the bird’s body is more upright, the landing is almost an action version of a portrait shot. Anthropomorphizing the body position, the bird is almost saying, “Okay, I’m here and ready for my photo op.”

A brown pelican flaps its wings as it lifts off the surface of the water
A brown pelican flaps its wings as it lifts off the surface of the water

Conversely, the take-off shot is not usually as photogenic. The body is more parallel to the ground, and on the downstroke, the wings tend to flatten out and their detail is hidden from the camera. Also, the bird is definitely headed somewhere else, which lacks the same connection a viewer might feel with a bird portrait.

A white pelican spreads its wings as it takes off from the water
A white pelican spreads its wings as it takes off from the water

Sometimes, however, I get lucky with a take-off photo and capture the wings in the full upstroke position, showing wing detail and freezing a pose that happens very quickly. Although I am happy with outcomes like this, I still prefer the landing poses in photographs.

At the end of the day, there are so many bird behaviors to capture, finding those perfect moments is an endless quest. Multiply that by almost 9,700 bird species, and rest assured that the life of a bird photographer never gets dull.

Parenthood

A canada goose delivers a lesson to its young chicks
A canada goose delivers a lesson to its young chicks

One of my favorite wildlife subjects to photograph is a parent with their new young. Watching how different species teach their children about the dangerous world in which they live is a joy.

Two canada goose chicks forage at the edge of a small pond
Two canada goose chicks forage at the edge of a small pond

Seeing siblings interact is also a lot of fun. They play together, squabble, and compete for food. All of these help activities teach them important survival skills.

Two canada goose siblings swim together in a pond
Two canada goose siblings swim together in a pond

Photographing these family interactions is challenging. You have to be close enough to catch the action, while still maintaining enough distance to let their natural behavior unfold. If you get too close to a family group, the parents will corral their chicks as if from a dangerous predator.

A gosling stands in shallow water eating
A gosling stands in shallow water eating

Canada geese is one of the easiest species to see these types of family behaviors in local wildlife. In the bay area they are a year-round species so there are lots of chicks running around in the spring.

A canada goose escorts its chicks to a small pond for a swimming lesson
A canada goose escorts its chicks to a small pond for a swimming lesson

They are much larger than ducks, which allows the parents to teach their young in open areas, rather than keep them hidden in the pickle weed like ducks.

A canada goose keeps a careful eye on its young
A canada goose keeps a careful eye on its young

Sometimes I get so wrapped up in watching these chicks that I forget to take photos, and end up using my lens as a scope. They always bring a smile to my face.

Copyright 2017 Hank Christensen