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.

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.

From the archives: Long-billed Curlew

A long-billed curlew stands in shallow water, reflected in the morning light
A long-billed curlew stands in shallow water, reflected in the morning light. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 1000. Evaluative metering +2/3 EV: 1/320 sec. at f/5.6

I’ve been busy with summer activities, and haven’t had time to process new photos lately. So I thought I’d share one from my archives that I like. Sometimes a very simple portrait composition can work well, especially if the bird has interesting features.

This curlew was standing as still as a statue is calm water. It was a good thing he was still, because the morning was a bit dark – the sun was just starting to rise behind some thick clouds, creating a gloomy morning atmosphere. On darker days, I have to bump up the ISO slightly in order to hold a reasonable shutter speed. In this case 1/320 seconds was fast enough to capture this immobile curlew. If he’d been feeding, it would have been much harder to capture his movements without blurring the photo.

My favorite feature of this photo is that the water was so still that it fades into a solid color abstract, both behind the bird, and around the bird’s reflection. This has the same effect as using a solid color backdrop for a studio portrait – it isolates the subject and removes all extraneous elements from the image. When I see a subject I want to photograph out in nature (be it a bird, sunset, tree or rock), I am constantly thinking about how I can simplify the image. After the initial excitement of a new shot passes, I step back and think, “What is this image all about?” Once I identify the aspects that drew my to that rock or that tree in the first place, I set about trying to remove any elements that don’t support the story I’m trying to tell in the image.

Sometimes, working an area can be difficult and frustrating – after all, nature is never a sterile, controlled environment. Sometimes however, as in the image above, a simplified image is given to me as a gift. I’m never one to complain about those images that come easily!

Blue-winged Teal

A male blue-winged teal is mirrored in the glassy water surface
A male blue-winged teal is mirrored in the glassy water surface. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering +2/3: 1/400 sec. at f/8

Things have been pretty busy for me lately, with a quick vacation out of the country and running here and there to capture migrant birds as they pass through the area. I did manage to get some photos processed of a late departure – the blue-winged teal. There is a small pond near my house (local birders know it as “Radio Road”) that is one the best places in the Bay Area to view blue-winged teals in the winter. Several pairs are usually present and can often be viewed quite closely.

I saw this male in prime photographing position when I was out running. I find that running is a great way to scout out the miles of shoreline near my house to see where specific birds might be found later in the day. If he would just remain in the same general area for a while longer, I could finish my run and grab my camera.

A male blue-winged teal perches on an underwater rock
A male blue-winged teal perches on an underwater rock. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 500. Evaluative metering +2/3: 1/1600 sec. at f/8

When I returned later in the day, he was still sitting in the same spot sleeping. Several other photographers had recognized this great opportunity as well and had set up shop nearby. Now the waiting game began. I needed him to wake up! I got in a comfortable position, sitting on the ground behind the tripod with its legs splayed out so as to get as low as possible. After about 15 minutes, one of the other photographers gave up and left. You can only take so many photos of a sleeping bird!

Finally the teal woke up, preened for a while, and swam around close to shore, feeding on submerged vegetation. The lighting was perfect, with the sun just starting to set behind me. I felt slightly bad for the absent photographer because I know I’ve been that guy before. The more experienced I become, the more I realize that patience is one of the most important virtues of wildlife photography.

Copyright 2017 Hank Christensen