Wildlife camera traps
View allAll Photos Tagged RemoteCamera
This is one of our garden hedgehogs, he's a big lad and over twice the size of the other two hedgehogs in the garden last night. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@21mm, F22, 1/200 Sec., ISO 200, Camera and flash on manual. I normally use a remote trigger but last night spent some time out with the hedgehogs lying down on the cobbles eye to eye. While I was with the hedgehogs I could hear some bats clicking above me and the local tawny owl in the background.
Our garden hedgehog. Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@35mm, F20, 1/200 Sec., ISO 250, Camera and flash on manual. I normally use a remote trigger but on the night spent some time out with the hedgehogs lying down on the cobbles eye to eye.
Our young Garden Hedgehog building up reserves for the winter. We put some meal worms out every night for him/her, he/she usually calls by between 9pm and 3am and the Robin finishes off the left over’s in the morning. Normally record him on the trail camera but tonight I've managed to get a shot with my camera. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@28mm, F20, 1/200 Sec., ISO 250, Camera and flash on manual. C14 Double Bean bag for the camera and C11 Mat for my elbows.
A young bison has chosen to cuddle with its mother. The scene is both heartwarming and comical, as she has selected mother’s posterior for this tender encounter. A nearby female almost appears to be chuckling at the booty snuggling baby.
Bison are undisputed icons of the American West. Unlike other animals, they can be found readily in Yellowstone and are not easily intimidated by visitors. In fact, they are probably one of the most commonly seen animals in the park. Despite that, however, I suspect that they are also one of the hardest to photograph well. The emphasis of that statement is on the word “well.” For anyone can snap a photo of a bison. Trying to find the image that captivates the essence of their iconic size, strength, and beauty is much more difficult. I certainly don’t have a magic formula for doing so, but I suspect that dedicating some time to their observation is a very good start.
For most wildlife photographers the interest is predominantly centered on learning, observing, and documenting interactions. In doing so, however, finding an interesting perspective that allows a photograph to stand out can be difficult. I personally don’t like to put animals at risk, and “the photo” is never my primary goal. I enjoyed using a remote camera while in Yellowstone. I am told, however, that it is a practice that will soon be banned. The reason for this? It has been said that the practice alters the animal’s behavior. In my experience, I must admit that at least half of the bison I photographed changed their behavior. A small percentage run from the camera. An even percentage find it intriguing and approach the camera. The great majority simply walk on by. In either case, the cameras appear to change the animal behavior much less than the automobiles, campers, picnics, and the general presence of people within the parks. Sometimes laws are constructed simply for creating limits without much thought as to how much effect they will ultimately have. #Bison #RemoteCamera #WideAngleView
Imagine turning around in Yellowstone National Park with a large bison barreling toward you. I suspect that this is what the last seconds of life might just look like. That being said, no one was hurt, including the camera and lens. This black and white conversion is one of the photos I took in Yellowstone this year using a remote camera and trigger and wide-angle lens. It’s the perspective I was hoping for and I’m so happy that the bison chose to pass along the paths that I selected. #Bison
Long ago we built roads through our national parks. Today’s wildlife considers these constructions part of their natural environment. They have never seen a world without roads. Responsible stewards should take heed by understanding that we have, at times, created obstacles and at other times helped facilitate wildlife passage. So, when bison decide to use the comfortable road instead of the difficult natural terrain, pull over and wait. Take a moment to reflect. None of this will be here forever. You are bestowed with the honor of living in an era when these natural wonders still exist. Take the time to enjoy them!
Setting out to capture some wide-angle photos of some of nature’s icons means taking a risk of not getting your gear back in one piece. Fortunately, that was not the case with this big boy. I found him coming down the mountainside and realized that he would likely take one of three paths already trampled through the snow. I chose to set up the camera under the limbs of a nearby pine along one of the paths. I placed the camera on the soft snow in a rain cover. My choice was rewarded when he walked within 3 feet of the camera. I fired the trigger with a remote from more than 100 feet away. He barely took notice, walking by and crossing the road like any other day. #Bison
Taking pan shots or motion blurs still remains to be one of my favorite activities when photographing bison and wildebeest. Two different animals on different continents with vaguely similar stature, both physical as well as social. There is no doubt that most of the photos are trash but I love the results when a good photo can be created. Maybe I just love that I can shoot to my heart’s content? After all, what photographer isn’t happiest when pressing the shutter? The ethereal quality of a good motion blur breathes life into a still frame. This is one of my favorites from my recent trip to Yellowstone.
I'm just passing some time and blowing off steam this morning before heading to a pottery wood firing for the afternoon and evening. It's an amazing process and I am even more astounded at the talent of so many who practice the art. Even though my creations are somewhat child-like compared to that of the other participants, I'm interested in seeing the results of the firing.
Watching bison interact can be a time-consuming process. Like many ungulates, these big girls and boys spend a good bit of time resting and ruminating. When they are, it’s probably best to do the same. When they become active, however, it’s fun to watch them interact. Although the summer-fall rut is an active and true competition, rutting most of the rest of the year seems to be simply undertaken for occasional entertainment. In winter, rutting is a bit less dramatic. The absence of the clouds of dust that usually accompany and accentuate the pastime somehow seems to make it appear tamer. Add a brisk snowfall and rutting is blanketed in a peaceful, wintertime chill. #Bison
It’s rare that I have a particular photo in my mind. When you are shooting wildlife photography it’s nearly impossible to script a session with nature. Trying new perspectives is always fun, however, and my recent attempts at using a remote camera with an electronic trigger for bison left me with a few photos that I love. The photo of this rather large bull is definitely my favorite. He was undaunted by the camera and simply walked on by with a dried blade of grass in his mouth, as if he were a cool dude on any other winter’s day. The rocky face of the hill behind him made a great background as he descended along the path. When deciding where to place the camera, there were several potential crossing points. I simply had to choose one and hope for the best.
In trying to create a wildlife image that captures attention, there are many things to consider. Many of the concepts apply to all forms of photography but some more generic to wildlife. Two forms of photography that, I believe, share many characteristics are not those you might immediately consider. Wildlife and sports photography are vastly similar when it comes to the components of the photos themselves but techniques are vastly different when you apply lighting to sports.
Perspective cannot be overstated. When possible, adjust your view of the subject. Change your altitude and your attitude. Go low. Move high. Find a perspective that enhances your subject and its surroundings.
Try not to ignore the foreground and the background. They are important components of the photo, tying the subject to the rest of nature.
Lighting isn’t always something that wildlife photographers can control. When possible, however, try to avoid lighting that is “en face.” Tangential lighting gives depth and perspective to an image and we all know the potential creativity produced by careful backlighting.
Gesture is probably one of the most difficult attributes of a photo to define. This photo makes it easier. The bison is approaching but it wouldn’t be nearly as captivating if this bull were looking down or away. His stance and his raised front hoof are defining moments of his trek forward and construe motion when there is none at all.
Above all, work your subject. When you find yourself with a subject that potentially provides these components, don’t snap a few frames and leave. Keep taking photos as long as the subject and surroundings provide potential. It means taking hundreds of photos that you may never choose to use but the difference between a plain photo and a work of art can be one frame away. In this way, digital photography has greatly expanded our limits.
Watching a ton of muscle and sinew saunter up to the edge of a 25-foot cliff can be hair raising. But trying to estimate the exposure compensation when shooting into the shadow side of a dark animal on a bright snowy background is nothing short of shuttering. I always choose to try to most properly expose my darks in the subject, in that way preserving the details in the shadows. You risk “blowing out” your highlights but this the dance of the wildlife shooter. Post processing has become intricate enough to allow a certain amount of rebalancing of shadow and light. I prefer not to have to “overwork” an image. Of course, the art of photography is creating the image that pleases you the most, and as long as you are not shooting journalistic photos, the canvas is yours to manipulate.
There are times when a slow shutter speed is much better at conveying the emotion of the moment than the hard stop of a rapid snap. Snow fall and movement are frozen in a frame one fortieth of a second long. It certainly makes is more difficult to get crisp focus but that’s part of the fun and creativity of shooting with a slow shutter speed.
I absolutely adore working with wildlife. Yes, it can be difficult. Yes, it can be frustrating. And yes, it undoubtedly takes time and dedication. Wide angle, remotely triggered devices can give a perspective rarely seen and impossible to achieve with telephoto lenses. That being said, they can also produce some of the most unexpected images. This may well be my favorite image from my recent trip to Yellowstone. Although the majority of bison will pass a remote camera with little interest at all, a few will avoid the camera and even fewer will actually choose to investigate it. For some, the nose knows no bounds. Such is the story of the current photo, when an adult bison approached the camera with caution. I even wondered if he might give the camera a lick. #Bison #RemoteCamera #WideAngleWildlife
All quiet on the hedgehog front, one young under weight off to Hedgehog Hamlet to be over wintered and our other garden hedgehog who was over 800g is safely tucked up. I've got the trail camera out just to check, but it's the robin that tucks into the meal worms in the morning. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@32mm, F22, 1/250 Sec., ISO 320, Camera and flash on manual. Set the camera up on a C14 Double Bean bag and the PIR trigger on a C14.1 Small double bean bag next to the camera. Our Bean bags are ideal for low level photography - They are quick and easy to position and to set up your camera, flashes and triggers.
Our garden hedgehog. We have two who regularly visit our garden on there nightly ramblings. Iâve made sure our garden gates have space below the for the hedgehogs to come and go. Photo Kevin Keatley, UK, Camera Nikon D800, 16-35@32mm, F22, 1/200 sec., ISO 400, Double bean bag & Full length mat for some eye to eye photography
Soda Butte
Soda Butte cone (left) sits along the road to Cooke City in Yellowstone National Park. It is a travertine deposit (Calcium Carbonate) that formed from a hot spring hundreds of years ago. It is now only minimally active. The Soda Butte Creek runs around the cone on three sides. Its waters were one of the most contaminated by mining for gold, silver, lead, zinc and copper that began more than 150 years ago. Reclamation efforts at the old mine sites were finally completed in 2014 and the stream finally delisted by the Montana Dept. of Environmental Quality in 2018. Bison and other wildlife are frequent, if not constant inhabitants in the area. #Bison #SodaButte
Our garden hedgehog. We put some meal worms out every night for him, he usually calls by between 9pm and 3am and the Robin finishes off the left over’s in the morning. Normally record him on the trail camera but tonight I've set up my camera with a PIR trigger. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@32mm, F22, 1/250 Sec., ISO 320, Camera and flash on manual. Set the camera up on a C14 Double Bean bag and the PIR trigger on a C14.1 Small double bean bag next to the camera. Our Bean bags are ideal for low level photography - They are quick and easy to position and to set up your camera, flashes and triggers.
Part of a series of images I took with my camera trap last year, I have a decent sized nature preserve behind my back yard , but I felt t photographing the Skunk on the deck showcases true suburban living for the Stripped Skunk
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Our garden hedgehogs visiting the takeaway to feed up for the the winter month ahead. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@32mm, F16, 1/250 Sec., ISO 250, Camera and flash on manual.
Our garden hedgehog. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@29mm, F16, 1/200 Sec., ISO 320, Camera and flash on manual. Set the camera up on a C14 Double Bean bag and the PIR trigger on a C14.1 Small double bean bag next to the camera. Our Bean bags are ideal for low level photography - They are quick and easy to position and to set up your camera, flashes and triggers.
Our garden hedgehog. We put some meal worms out every night for him, he usually calls by between 9pm and 3am and the Robin finishes off the left over’s in the morning. Normally record him on the trail camera but tonight I've set up my camera with a PIR trigger. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@29mm, F16, 1/200 Sec., ISO 320, Camera and flash on manual. Set the camera up on a C14 Double Bean bag and the PIR trigger on a C14.1 Small double bean bag next to the camera. Our Bean bags are ideal for low level photography - They are quick and easy to position and to set up your camera, flashes and triggers.
On Friday, March 15, 2019 United Launch Alliance overcame a number of technical issues to successfully launch the WGS10 satellite atop a DeltaIV Medium rocket.
This is a close-up of the RS68A rocket engine and two of the four solid rocket boosters, captured with a sound-activated camera placed at the pad.
Five or more filters were applied in Color Efex4 to give the shot a moody look.
8/3/2022 © Mike Orazzi
Kirsten at Topsmead State Park in Litchfield, Conn.
Strobist: AB800, 1/8 power, 40 degree grid on my left, set off with a CyberSync.
Short video of the photo session here: youtu.be/WmAnDXjSFvU?si=854OoSuewMQXXqD6
Inspiring… “Come forth into the light of things, let Nature be your teacher”. - William Wordsworth
Our mission is to build a future in which humans and nature thrive. What’s yours?
8/6/2022 ©Mike Orazzi
Nadine at Topsmead State Park, taken with the Nikon D500 as a remote camera while i used a Nikon D850.
Strobist: SB28, bare, 1/8 power on my left, set off with a CyberSync.
8/3/2022 © Mike Orazzi
Kirsten at Topsmead State Park in Litchfield County, Conn.
Strobist: AB800, 1/8 power, 40 degree grid on my left, set off with a CyberSync.
Short video of the photo session here: youtu.be/WmAnDXjSFvU?si=854OoSuewMQXXqD6
Our garden hedgehog. Normally record him on the trail camera but for this photo I've set up my camera with a PIR trigger. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@22mm, F16, 1/200 Sec., ISO 320, Camera and flash on manual. Set the camera up on a C14 Double Bean bag and the PIR trigger on one of our C22 Ultra pods. Our Bean bags are ideal for low level photography - They are quick and easy to position and to set up your camera, flashes and triggers. I've added a link to one of my photo tips on ' Using remote triggers' www.wildlifephotography.co.uk/sites/default/files/RemoteT...
At 7:48pm (ET) on Friday, January 19, 2018 United Launch Alliance (ULA) would successfully launch the #SBIRS / SBIRSGeo4 satellite atop a (Mighty) #AtlasV rocket from Cape Canaveral Air Force Station.
This is a composite showing 35 minutes of stars rotating above the pad until just before liftoff and the streak is a 168-second exposure of the rocket.
Photo available here: www.photosofstuff.xyz/SBIRSGEO4-by-United-Launch-Alliance/
(Photo by Michael Seeley / We Report Space)
So I had my D300 set up with a remote trigger for this one. I was mainly using my D500 and D850 but thought I'd try something new.
@Mike Orazzi, 2019.
Stephanie
Strobist: AB800 1/32 power, shoot through umbrella, SB800 1/8 power for her hair, both set off with CyberSyncs.
Check out and subscribe to me on: www.youtube.com/channel/UCZMkAjS-_TfI_njSLUbjEzA
The Atlas V 411 uses a single Aerojet Rocketdyne solid rocket booster, providing some extra thrust to get OSIRIS-REx on its journey.
Photo Credit: Jared Haworth / We Report Space
Buried in the mega-trail composite version of this #SBIRS #AtlasV streak is a frame (three, actually, but the first and last frames show it very faintly) with a non-blinking streak passing over Cape Canaveral Air Force Station / 45th Space Wing at Patrick Air Force Base, Fla. (high and to the left of the launch streak). In the final version, the trails all but obscure it, so this is a composite with just the launch streak (7:48 pm) and the frame showing the faint streak (7:25 pm).
With the help of Heavens-above.com, I can with reasonable certainty conclude that I caught the OAO 3 rocket body passing overhead. Launched from Cape Canaveral Air Force Station on August 21, 1972 from LC-36 (now leased to Blue Origin), this is an Atlas-Centaur rocket that carried an observatory named "Copernicus" that was at the time NASA's heaviest scientific payload. (Source: WIRED)
The third rocket? In a cool display of 45+ years of rocketry, the brightly lit (and not structurally discernable, sorry) pad to the left of LC-41 is LC-39A, with the Falcon Heavy, upright, and awash in lights.
Also, my thanks to Philip Metzger. I had forgotten about this little streak, but a twitter conversation last night about airplanes in the shot reminded me.
Details:
OAO3 streak is a 30-sec exposure at ISO800 and F5 and the launch streak is a 168-sec exposure at ISO100 and f18. Edits done in Lightroom, composite done in Photoshop and final edits done (again) in Lightroom.
(Photo by Michael Seeley / We Report Space) — at Cape Canaveral Air Force Station.
I noticed the first birds of the season in the backyard and setup the remote Sony A1 with the Sony 70-200GM ii, triggered via Remote Camera Tool over wifi.
So I had my D300 set up with a remote trigger for this one. I was mainly using my D500 and D850 but thought I'd try something new.
@Mike Orazzi, 2019.
Stephanie
Strobist: AB800 1/32 power, shoot through umbrella, SB800 1/8 power for her hair, both set off with CyberSyncs.
Check out and subscribe to me on: www.youtube.com/channel/UCZMkAjS-_TfI_njSLUbjEzA
Our young Garden Hedgehog building up reserves for the winter. We put some meal worms out every night for him/her, he/she usually calls by between 9pm and 3am and the Robin finishes off the left over’s in the morning. Normally record him on the trail camera but tonight I've managed to get a shot with my camera. Photo Kevin Keatley, UK. Camera D800, Lens Nikon 16-35mm@28mm, F20, 1/200 Sec., ISO 250, Camera and flash on manual. C14 Double Bean bag for the camera and C11 Mat for my elbows.