WILDLIFE PHOTOGRAPHY WORDS and PHOTOS by PETER MATHER PROfile
Peter Mather has been pursuing environmental photojournalism since 1994, when he saw a touring wilderness preservation slideshow by photographer Ken Madsen. His search for unique and inspiring images has taken him down dozens of remote rivers in northern Yukon, Alaska and the Northwest Territories.
CAPTURING BEHAVIOR [1]
Photography is really about telling stories, and the best wildlife stories involve unique behavior. When photographing wildlife, be patient and wait for that magic moment.
We spotted these musk oxen on a small spit of gravel along the coast. As soon as they saw us, the six adults formed a defensive ring with their four young calves firmly barricaded behind them. I tried shooting from a number of angles, but I like this image the best. The layering of the animals, and the way the eye of the second musk ox is framed by the horns of the first, evokes the impenetrability and fortitude of their protective behavior.
GETTING CLOSE [2]
Robert Capa, the great early 20th-century wartime photographer, once said, “If your photos aren’t good enough, then you’re not close enough.” To get this image of a Pacific loon on her nest required persistence and passion. The nest was on a small pond surrounded by a giant field of tussocks and grass. I made the loon aware of my approach and, every five minutes, I’d get up and move a few feet closer until I was within 10 feet, and able to capture a very intimate portrait.
Try these three methods to get closer to wildlife. But, remember, back off if the ani- mal appears stressed.
Blinds | Set up a man-made or natural blind in a safe area that your subject visits often, and simply wait.
46 | ADVENTURE KAYAK
Camouflage | Blend into the environment, avoid any unnatural odors and sneak up on your subject using the natural cover avail- able. Approach from downwind and give the animal a clear escape route.
Zigzag Approach | Make the animal aware of your presence and approach slowly and obliquely in a disinterested manner.
COMPOSITION [3]
When shooting wildlife with a telephoto lens (above 300 mm), choose a small depth of field—F/5.6 or lower—to keep the subject in sharp focus while blurring the background.
the trip
This will allow the subject to pop out, giving it a three dimensional effect. Minimize dis- tracting elements by adjusting your position to ensure that the background is of pure color and little texture. Shooting at the bird or animal’s eye level creates an intimate feel and often simplifies the background. Getting low also creates a sense of harmony and bal- ance between the wildlife and the viewer.
EQUIPMENT SELECTION [4]
Dealing with photography equipment on a kayak trip requires balancing two contradic- tory goals: You need your equipment handy
Arctic Coast, Alaska and Yukon
In the short summer months, the Arctic Coast teems with life. A month-long kayak trip along the Arctic Coast, from Alaska’s Arctic National Wildlife Refuge to the Yukon’s Ivvavik National Park, proved to be the most rewarding wildlife journey of my life. During our voyage we saw caribou herds numbering in the thousands, musk oxen, snowy owls, wolves and over 200 loons.
IF YOU GO: The starting point for our trip—the Inupiat community of Kaktovik, Alaska, on Barter Island—is accessible by short haul flight from Prudhoe Bay, Alaska. Paddling in the Arctic sum- mer is not much different than an early winter trip—temperatures hover between -3 and -15 de- grees Celsius (5–25°F). Warm layers, a drysuit and neoprene gloves and booties are essential.
OUTFITTERS: Kayaks are available to rent in Kaktovik from a local Inupiat guide named Robert Thompson.
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