Introduction

For many years now I’ve thoroughly enjoyed my work as a photographer for Rotterdam Zoo. Nevertheless, it wasn’t animals, but bicycle racers who lured me into this profession. As a young apprentice of Cor Vos, one of the all-time best sports photographers, I was sent to the Tour de France. Cor taught me what 200% dedication means, and what it means to cling to an assignment, but also the absolute indispensability to learn all you can about the subject of your pictures.

After a couple of years, I started my own agency, pop music being my subject. Picturing pop groups like ELO, Queen, the Eagles and Supertramp boosted my development as a photographer. Working in the hectic of a concert isn’t easy. Taking your pictures at the right moment, with continuously changing light and thousands of fans shouting and pushing behind your back was a tough school for me to train my concentration.

During a couple of years, I worked for the Rotterdam police. Next to all horrors which I had to watch and register on image, it taught me how important it is to be open for co-operation, and to become a good team-player.

In the world of ZOO photography everything came together. Big and small animals, pictures to be taken under water or in the air, behind bars, wire or glass, in the darkness or in full sunlight, everything became a new chalange. I never felt that I am ready. And my images can always be improved.

I’m really happy about this, because there is still so much to do and to learn.

Rob Doolaard

Automatic white balance

The white balance is used the have the white in our subject actually be registered as white in our picture instead of turning into yellow, red or even blue. Our own eyes can cope with the continuously changing colors in the world around us. The task of the automatic white balance in our camera is to represent colors as neutrally as possible.

Our camera has no problems with daylight. But when full sunlight is replaced by artificial light, say TL tubes, the camera has a problem. Full-spectrum daylight has a color temperature of 5000 – 6500 degree Kelvin. TL tubes have a color temperature of 4000 – 5000 degree Kelvin. Switching the white balance to TL often isn’t enough, because there are various types of TL tubes each with its own color temperature.

You will often find mixed light, for instance in the reptile house, where bright sunlight may enter, mixing with the electric light. All reasons not to trust the automatic white balance. There are many different light sources with a wide range of color temperatures, light sources with a continuous spectrum and other sources with a discontinuous spectrum, all needing their own white balance setting: flashlight, light bulbs, halogen light bulbs, TL, LED, CFL, candlelight, heating lamps, etc.

The automatic white balance of your camera has a reasonable scope, often between 3000K and 7000K, and usually there is no peachy keen. But sometimes our loyal friend suddenly changes color.

Some values:

  400 - 1000 K       Heating lamp

1000 - 2000 K       Candlelight

2500 - 3500 K       Electric bulb

3000 - 4000 K       Sunrise / sunset

4000 - 5000 K       TL tube

5000 - 5500 K       Flashlight

5000 - 6500 K       Daylight with visible sun

6500 - 8000 K       Cloudy weather

9000 - 10000 K     Shade and heavy clouding

Working in the zoo and also in nature, I normally use the Automatic White Balance (AWB) setting; it will nearly always solve color problems. Sometimes I have to apply color corrections in Photoshop afterward, but if they give the required results, that’s OK for me. In case I expect that I won’t get the colors right, a little bit of additional flashlight will often add to the spectrum so that it fits the AWB range. The color temperature of flashlight is higher (more blue) than electric bulb light. A bit of flashlight will decrease the surplus of ‘warm’ colors: red, orange, yellow. For completely carefree photography, the RAW file setting is the best solution. Where the AWB setting will sometimes convulsively try to get your colors on the right track, the RAW setting won’t do anything. The light goes straight and without color correction into the memory card. Back home, with ample time for a cuppatea, I can review at leisure the colors of my images and, if necessary, correct them.

For this purpose, it is very important to have a color-calibrated computer screen.

You wanted to be able to value all colors you have collected, eh?

Glass or wire mesh: no problem

The Amur panther doesn’t often show itself, and the window panes are a serious obstacle. You’ll need patience, and condensation on the inside of the glass cannot be wiped off. But as soon as the sun has evaporated the condensation, we can start. With the camera lens (without its lens hood!) right-angled onto the glass, you will get the sharpest images. This also applies to the enclosures with bars or wire. Find a place where the sunlight doesn’t brighten up the wire.

Focusing to perfection

I make use of ‘manual focus’ when the light doesn’t co-operate, and when I am taking macro pictures. Only when speed is required, I use the auto-focus on my camera. But be aware: every picture asks, or even screams, for a camera setting on its own!

Let’s have a look at all situations:

For a start, get the focus of the picture you want to make in the middle of the viewfinder. Then set the camera at ‘one shot’ (the expression used by Canon). Every time you push the shutter button half way, the camera will go to the point you have selected, and focus. Pushing down, you will make a perfect picture.

Between the focusing and actually taking the picture, it is smart to use some of your precious time to make a nice composition. This can be done with the shutter button pushed half way down. If the distance to your subject changes (the curious animal comes towards you, or walks away), you release the button and press down again. When the distance between you and your subject is continuously changing, it is time to give your camera other instructions.

For a moving subject, the auto-focus mode ‘continuous’ (expression by Nikon) is the appropriate method to keep your images sharp. But keep in mind: when something suddenly jumps between you and a precious opportunity, forget the result.

This ‘continuous’ mode combined with dynamic focusing (that means not one but several measuring spots) offer the opportunity to capture small, agile animals on your CCD memory chip.

Don’t let yourself be discouraged by the ‘in focus’ information. Try it, and apply it!

Razor-sharp images through glass

It is quite well possible to make good and even razor-sharp pictures through glass.Some points need attention. First, it is important to keep reflection out, and that means that you have to keep your camera strictly perpendicular to the glass. The passage of the light through the glass is shortest. It is also important not to use the lens hood.

800 iso - 105 mm / macro - F8.0 - 1/60 sec.

The glass is just a couple of millimeters from our lens, and any odd scratches or spots won’t have a chance to degrade our picture. With the camera softly posed onto the glass, you can master very long shutter speeds.

A few rapid tips...

Always use the lens hood, even when there is no sun!

Take it off when you take the picture through mesh wire!

A UV- or Skylight filter to protect your lens is really a must!

Use a tripod or a rice bag to make razor-sharp images!

Take your time!

Remember: animals never co-operate, but flowers don’t either!

Keep the background nice and clean!

When your zoom lens gets longer, shutter speeds must be raised!

Don’t overdo: you and your camera have your limitations!

Don't get angry when it doesn't immediately work out the way jou want it. 

Birds’ Free Flight Show

First set the shutter speed. Use the M mode. Then set the diaphragm on biggest aperture, direct the camera to some grassland (which gives a fairly neutral measurement) and set the shutter speed. A 1/500 sec must be within reach, otherwise do adjust the ISO value. The focus problem remains. Because the distance to the birds is never the same, the camera setting must be on continuous servo AF (Nikon) or al servo AF (Canon). For the exposure measurement, activate all sensor points (Dynamic focus). The camera then looks for the nearest subject, and keeps it sharp. 

200 iso - 190 mm - F2.8 - 1/3200 sec.

Jump under water

If you have lots of time, the under water world is a good start to raise the level of your photographic art. Lenses I often use are the wide-angle, 50 mm macro and the 105 mm macro. Again, it is important to stick your camera perpendicular to the glass: that’s the only way to get optimal focus. You won’t have reflections either, set the white balance on automatic and choose ISO 400. Use the continuous auto-focus. Sometimes, depending on the subject, the dynamic focus mode gives the best solution. More about this on our website!

800 iso - 35 mm - F5.6 - 1/30 sec. 

In aquariums there is a lot of glass. To prevent reflections, a polarizing filter is no solution. This filter absorbs half your light but doesn’t eliminate all reflection. It is better to choose such a position that reflections don’t stand a chance. With the camera spot on the glass, you are sure to have optimal focus. Use of a large aperture and a high ISO value are important. And often it can be useful to drag your camera over the glass, to get in front of your subject.

Against-the-light sometimes gives surprising results, like with this rainbow trout.

Epilogue

Photography in the zoo is not easy, many obstacles continuously cross your path, there is so much to see and to register with your camera. Observe carefully and take your time before you take a picture, go to the utmost, but always respect the animal, small or big. Always try to raise the level of your images and surpass your previous results. That’s the way to achieve even better images.

Most important of all: enjoy the ‘writing in light’ with your camera.

Rob Doolaard

Also available in PDF to download - www.animalphotography.info