by Gary Fong
Photographer: Ken Wong, Vacation Spot Adventurer
It’s a jungle out there. Shooting wildlife in the Alaskan outback, unlike wildlife in the San Diego Zoo, takes a well-defined mindset. One needs to be cunning in the wild, as opposed to carrying enough pocket change to fend off the meter maids during weekday parking hours.
To a modest degree, Ken Wong, noted worldwide vacation spot adventurer, understands the difference. He can illuminate the emotional roller coaster of photographing the “big cats” behind man-made motes and concrete enclosures; or standing toe to bear claw (not the Danish variety), with nothing but a toothpick log and twenty paces between him and a cute 400 pound furry bear.
It’s a dangerous world out there…one needs to be careful…not to mention fleet of feet.
Now for the Nit Picking
Tension in wildlife photography creates interest. An image of a sleepyhead lion, shot at the zoo, puts armchair adventurers to sleep during late evening vacation showings. However, a bear asserting its “top-of-the-food-chain” demeanor over a “feet-don’t-fail-me-now” photographer is an eye opener. Don’t worry about composition…if blood is in the frame, the picture has interest, especially for relatives.
Not to worry the family…unfortunately the frame has no blood, not even from any squires or vacationing photographers alike.
It would have been nice if the prominent log were out of frame. As it stands, it hides the defiant stance of the bear. If Mr. Wong asked said bear to take a “time out”, inquire of said bear, if he/she would so kindly move the offending log, reframe camera right or left for composition, call “time in” to said bear…I would think his effort would be rewarded with a modest amount of visual improvement.
But more is needed. The high angle on the sun creates “bear squint”, a common reflex found in high noon pictures of smiling humans…occasionally found in bears looking at inquisitive tourist. Either wait for the sun to have a better angle or schedule a time for bear and photographer and bear to meet later in the evening.
The high noon sunlight fails to bring the bear’s personality to the surface. Soft light or open shade would enhance the carnivore’s warmer personality…(he/she and Smokey may be friends).
The placement of the bear is too centric for proper eye moment through the frame. Off center would be better. It provides room for the bear to run into or out of…opposed to away from or towards the photographer.
Naturally, there’s a certain amount of institutionalized tension generated by situational context. In reference to wild hungry bears, it’s nice to shoot with long lenses…in most cases…longer is better. Long lenses provide intimacy at a relative safe distance, the longer the lens, the great the intimacy. It all depends on how much money one has saved out of the parking meter fund.
If one can afford a $14, 000, 800mm lens over a $500, 80-200mm zoom, calmly mention too ones spouse the safety factor that an 800mm lens inherently provides regarding a head start…should said bear wish to dine on a particular photographer on shoot night. It’s hard to argue with safety.
