Silhouettes

Field Theory and Perspective in the Context of Katydids: Part Two

Again, I began the process of "composition repair" by taking the camera off the tripod and moving around the subject. Fortunately, this event occurred in the evening and the slightly cool katydid was fairly calm and satisfied just to keep an eye on me as I worked. I had noticed in the background of the previous photograph a small blotch of yellow that turned out to be a patch of sunflowers in another part of the garden. I chose an angle that separated the katydid from the leaf, and a position that used the out-of-focus yellow sunflowers as my background. Much more pleasing, aesthetically, I think. A shallow depth-of-field (notice the repeating theme?) separates the katydid from its background, but I was not totally successful in paralleling the camera plane with the subject plane. (Did anyone notice the missing leg?)

ADDENDUM:
Although the second image is more dramatic and shows off the katydid more effectively, the first photo is not a "bad" shot. If, for instance, I were writing an article on camouflage, I could very well choose that first image as an illustration.

Field Theory and Perspective in the Context of Katydids: Part One

How's that for a convoluted title? Don't fret--all will become clear.

I have been photographing small critters for almost 40 years, and have shown, sold, and taught. One of the more common questions that I'm asked actually has nothing to do with equipment, technique, Photoshop, etc. It goes something like, "how on earth do you see those things?" Aside from the fact that I'm looking for them, there is another process at work below the conscious level that helps me in the field.

I have a friend who was a dedicated hunter. He didn't believe in ambushing from tree stands--he stalked his deer with a bow and arrow, and claims that all he needed was the twitch of an ear or flick of a tail, and the deer was his. He hunts now with a long telephoto lens, but the lessons he learned as a hunter have stood him in good stead in his new persona as a wildlife photographer. What he was doing was identifying field patterns.

When we become really familiar with an environment, we internalize the patterns that it contains. The patterns of branches, leaves, ripples, etc. all become associated in our minds with that environment. Although this is a subconscious process, we can call upon it and bring it into awareness. When I am in the field, my eyes/brain pick out anomalies or variations from the familiar patterns. Subconscious: "Hmmm, the lump on that leaf should not be there as part of the leaf; what is it?" And. there it is--a leaf-green katydid! Or the antenna of a praying mantis, peeking out from behind an identically-colored stalk of grass.

This photograph is an "accurate" one in that it portrays the animal camouflaged in its environment. It is, however, certainly not an aesthetic tour-de-force." How can we fix this? On to Part Two!