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Copyright 2018 Jack Ballard
Photos by Jack Ballard unless otherwise noted
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review.
British Library Cataloguing in Publication Information available
Library of Congress Cataloging-in-Publication Data
Names: Ballard, Jack (Jack Clayton), author.
Title: Wildlife photography : proven techniques for capturing stunning digital images / Jack Ballard.
Description: Guilford, Connecticut : Falcon, [2017]
Identifiers: LCCN 2017041766 (print) | LCCN 2017042663 (ebook) | ISBN 9781493029563 (e-book) | ISBN 9781493029556 (pbk.: alk. paper)
Subjects: LCSH: Wildlife photography.
Classification: LCC TR729.W54 (ebook) | LCC TR729.W54 B354 2017 (print) | DDC 778.9/32dc23
LC record available at https://lccn.loc.gov/2017041766
The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
Printed in the United States of America
The authors and Rowman & Littlefield assume no liability for accidents happening to, or injuries sustained by, readers who engage in the activities described in this book.
ACKNOWLEDGMENTS
I am deeply indebted to more individuals than can be mentioned when it comes to the acquisition of the information contained in this book. Numerous photographers affiliated with the Outdoor Writers Association of America (OWAA) gave me encouragement and invaluable advice after I joined this organization early in my career, including Lee Kline, Tom Ulrich (deceased), Michael Furtman, Bill Mullins, and Tim Christie, among others. Dr. Russell Lord, my former department head at Montana State UniversityBillings, was very helpful in adapting my schedule as I was transitioning from university lecturer to photographer/writer.
Lisa, my wife, is responsible for many of the photos in this book. We have shared countless hours together in the field photographing wildlife, some of our most treasured time together as a couple. My son, Dominic, is also a skilled photographer and has generously offered images from his files for this book. I am also indebted to John Burbidge and Katie Benoit of Rowman & Littlefield for developing the original concept of this book and making valuable suggestions on its basic outline.
Swarovski Optics generously provides outstanding optics for my viewing and observation of wildlife. Thank you.
INTRODUCTION
I remember the exact moment I became addicted to wildlife photography. While visiting Yellowstone National Park one autumn, I followed a herd of elk at a distance up a mountainside. A regal bull shepherded the cows. Halfway up the slope, his herd collided with two other bands. In the melee that followed, two more dominant stags ousted the bull. He stood in a clearing as the other animals departed, bugling his frustrations to the world, his breath coming in great clouds in the frosty air.
Camera in hand, I had 36 frames on a roll of film to capture the stunning image. Or so I thought. The camera required manual advance of the film via a thumb-operated lever. When the frame counter moved to 37, I was happy to get a bonus photo, which sometimes occurred with film. When it went to 38 and then 39, my heart sank.
Those of you reading this who remember the film days are chuckling. I had no film in the camera (later film cameras that used LCD displays and DX coding eliminated this problem). But the images I have of that singular experience are recorded in the electrochemical memories of my brain, impossible to share with others except as verbal descriptions.