Resting Moose: A Collection of Less Seen Lifestyle Images

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Moose spend much of the daylight hours bedded down after grazing during the pre-dawn and first light periods.

Over the past 8 years or so, I’ve taken thousands of shots of moose bedded down in various locations and under most conditions and light. Resting moose images probably aren’t as popular or romantic as ones crossing a stream or in some sort of rut behavior. I enjoy trying to capture them—but then, I also take photos of metal rusting and paint peeling! For viewers not around moose that often, this Feature Post should enlighten you about some of their lifestyle and behavior when they are not “posing” for us in the other classic shots. This page is loaded with some of my favorite resting moose images, along with some comments about them.

Custer Watching

Moose usually bed down within an hour of the first light hitting the valley floor. They may continue to graze at the edges of the forest or move to the relative safety of the willow trees, but you’ll seldom them find them standing in the sagebrush during the heat of the day. To get resting moose shots, all you have to do is stay with them in the morning until they go down. It’s a given.

blade of grass

After feeding and going through their morning rut behavior, moose move to a cool, shady spot. They do a good job of bedding down in a place with small stems or branches in front of them. You’d almost think they do it to annoy photographers! Since I live here and get plenty of opportunities, I typically don’t photograph one with stems in their face unless the rest of the scene is outstanding.

blade of grass removed

It is possible to remove small imperfections in Photoshop. The “content aware” healing brushes can work wonders. It all depends on how much of a purist you are and how many days you can spend photographing them.

removing branch

It doesn’t happen that often, but occasionally a moose will reach out and chew off a branch or stem, cleaning up the scene the natural way!

cleaned scene

Perfect! No Photoshop needed on that pesky branch!

Moose in Sagebrush

I’d like to get more of this kind of image showing some of the distant mountains. Normally, I am out with a 200-400mm lens. It takes something wider like a 70-200mm lens to include much of the environment. Ideally, I’d be about 10 feet from the moose with a short lens to let them fill the frame—but that would be illegal and dangerous. They never seem to be alarmed or concerned with me at 35-40 yards out. Most moose in GTNP were born here and have grown up with photographers and tourists around them. As long as people don’t abuse the privilege, GTNP moose appear to view us no differently than any other grazing pronghorn, elk, or bison they see in the same areas. Back country moose “might” be less tolerant and either run or charge.

Moose in Sagebrush

Early morning or late evening light always help “romance” an image. A little “catch light” in the eyes helps most images, too.

The little bull

While this little bull has a lot of character, it is more of novelty shot for me. My rule of thumb is “shoot now” and try to decide if it has any long term value later. This particular image makes a great addition to this post, but who knew in 2008 I’d be writing a blog post in 2014. I didn’t know what a blog was in 2008.

Washakie

I tend to spend more time following the larger bulls and taking their photos—even the resting versions. They are wonderful subjects with a lot of expression and character! A bull will typically yawn once or twice after lying down. They also stretch their neck once or twice before settling into an extended nap.

Flat Out

Most “sleep” with their head up.  They can close their eyes, yet listen for threatening sounds by swiveling their ears in any direction. It is not uncommon to watch a moose’s head bob from semi-consciousness to full sleep like I used to do in a 7:00 am art history slide show back in college. Sometimes they roll over on their side, as seen above.

Completely out

Occasionally, one of the big bulls will fall asleep…all lights out! The fall rut can drain their energy.

awake

This bull woke up with snow stuck to his antler. He slept for roughly 15 minutes.

legs showing

This bull bedded down in an open area, revealing his folded legs. This kind of shot isn’t too common.

Two Bulls

If one resting bull is good, then two resting bulls must be even better!

Six bulls

Then again, if two bulls are good, six bulls are much better!

Bull and Cow

During the fall rut, bulls stay fairly close to the prime cows.

Gentle Prodding

It’s rewarding to be able to capture behavioral shots, too! This bull was prodding the cow to get up for a little “action”.

stacked calf and bull

This little frisky calf bedded down on a sand bar. The bull walked up, got a drink and bedded down next to the water. I shot this scene from several angles, but liked this one best.

curious young bull

Large bulls are often amazingly tolerant of a smaller bull. During the heat of the rut, you’ll seldom find two of the large bulls that friendly around each other.

after the rut

After the rut, bulls often reassemble in small groups. One year, quite a while back, I counted 28 antlered moose in one area, plus several I was sure were bulls that had already lost their antlers. I haven’t seen that many since, and reports indicate moose populations have been on the decline. Once moose bed down in the sagebrush, they can be difficult to spot, made worse once their fur gets covered with snow.

Lost Antler

By mid-December, some of the bulls shed their antlers. This bull had apparently just lost one of his. The off-balance effect of having only one antler must be hard on them. This bull was following a group of around 6 bulls but was constantly bedding down to rest while the others continued to graze.

On lost antler

I’ve heard it said the largest bulls lose their antlers first, but I am not so sure that is a correct statement. I don’t really see much of a pattern to it at all.

Washakie

Most tourists visit Jackson Hole during the Summer and Fall and never get to see moose in snow like this.

getting up

What goes down, must come up! Newton didn’t exactly say it that way, I guess. If you are willing to wait him out, a resting moose will eventually get up. They almost always do a unique “stretch” of their back and neck before being ready to continue with the rut or feeding again. Click this image to see it much larger!

cow with calves

I typically don’t take that many shots of resting cows. In the early part of June, moose are shaggy and not too “pretty”—and that’s being polite! Early June is also about the time the cows show up with newborn calves. Exceptions have to be made!

Cow in the river

This is another example of capturing a resting cow moose while doing something unique. By mid-August, afternoons can get warm enough to bake their dark fur.

Youngster

This young calf was just too cute to pass up!

in the pool

Okay, I would have photographed this bull in velvet whether he was in the sagebrush, willows, or grass, but catching him in a cool pool was a a treat.

with a rope

Once a bull’s antlers get to a point the velvet is ready to scrape off, they rub their antlers against just about anything they can find. Apparently, this bull found a worthy tent or clothes line. The line must have affected his desire to finish the velvet stripping. Luckily for the moose, both antlers would be falling off in December and he’d be ready to start over next year. Bulls start stripping their velvet a few days either side of Labor Day, but not all begin at the same time.

Scratching

Bull Moose seldom spar until they have had a chance to strip off all of their velvet. Once stripped and their antlers polished, they become a multi-purpose tool. When bedded down, they often use their antlers to scratch their back. By late December and into early January, he’ll lose his back built-in scratcher.

Washakie

This venerable bull moose (I call “Washakie“) has been one of my favorite subjects. I first photographed him with a digital camera in 2006. He was an impressive bull even back then, but each year, his antlers have been getting larger and more distinctive. He’s in quite a few of the images in this post above. He spends much of August near the big pull out along the Gros Ventre river feeding on fresh willow leaves and stems. During the rut, he can roam along the Gros Ventre all the way from the highway to the town of Kelly. As the willow leaves wain, moose begin to switch their diet to bitter brush, which grows alongside sagebrush in the open flats. This shot, taken in mid-November (only a few days ago), will probably be one of the last images I get of Washakie this year. He has snow on his face from pushing snow away to get to the low bitter brush. Their long legs allow them to pass over high snow and tall sagebrush. Their thick fur allows them to tolerate -30°F temps and heavy winds. They can sometimes be found near the roads near Ditch Creek road, but eventually, they move on West and out of range for most people.

Frozen Water Source

During the coldest periods of winter, finding water might be a moose’s biggest challenge. This irrigation ditch originates at the Kelly Warm Springs and travels towards the Mormon Row barns. Most parts of Ditch Creek freeze solid, but I believe moose move away from the roads and towards this irrigation ditch for the chances to break through the ice. Once an opening is found, other moose drink from the same spot. While this isn’t a resting moose photo, it goes with the preceding image and caption.

I am working on another Feature Post containing a collection of “unique” moose activities, similar to the one above. Now’s a great time to sign up to follow this blog if you haven’t done so. You’ll receive an email notifying you of any new feature posts. This photo makes me smile. It reminds me of a story about one of my young nephews. His mother had quoted the line from the Bible that goes something like, “And, Jesus walked on the water”. My nephew pondered it a minute…then said, “Must have been damned cold”.

Shooting Info

Most of these shots were taken with a Nikon 200-400mm lens at a range of around 40 yards. Most have a little cropping. The early images were taken with a Nikon 300 and later shots were taken with either a Nikon D4 or a Nikon 800. Resting moose seldom move their head too fast, so shutter speeds are not much of an issue. The distance from the tip of the nose to his ears is close to 2 feet. Lower shutter speeds and smaller apertures normally work fine. If looking at me, I typically focus on their eyes and let their muzzle go out of focus slightly. When at a 3/4 pose, most of the face will be sharp.

depth of field

Shooting Comments

For this Feature Post, I went through around 20,000 moose images and found around 1500 resting moose shots. No telling how many thousand additional resting moose shots I took and deleted. I included way more images on this page than some might think is appropriate for a blog post, but I tried to find images with some sort of unique nature or quality. When you are out in the field, it is way too easy to set up on a tripod and shoot 300-400 images of essentially the same pose of a resting moose. That just means you spend a lot of time having to cull a bunch of them. Over the years, I shoot less of them and cull more of them. I’d probably be much more discrete if I had to change rolls after every 36 captures.

If I find a nice bull moose in the morning and stay with him until he beds down, I typically head home or go somewhere else during the middle of the day. Moose sometimes get up in the middle of the day, but usually only to switch sides or move to a new shady spot. If I go back in the afternoon, they are seldom more than 50-70 yards from where I left them in the morning. I will usually be more tempted to go back in the afternoon if I left them bedded down somewhere near the river. They usually go to the water once a day, sometimes crossing after taking a good drink. Wild mustangs, elk, and pronghorns males “herd” their harem, usually away from other males. During the rut, bull moose normally just follow the “hot” cow wherever she goes instead of trying to keep her in a specific area.

Maybe you’ll agree—even when they are just resting, moose are incredibly captivating animals.

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Please note: Images on this page are fully protected with an official copyright at the US Copyright Office.  No unauthorized use is granted.

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Go to Source

Post-processing symposium

DSC03347smThis weekend the Teton Photography Group is hosting their 3rd symposium, Post Processing for Digital Photography in the Black Box theater at the Art Center in Jackson Hole.

If you have taken many photographs but aren’t sure how to process them to get them to the next level, this is the event to attend.

Many photographers take shots and then just email/print/post them as is and they receive a tepid response. Why is this? Because they aren’t sure what their final image was going to look like when they took the shot. Visualization of what the final product is going to look like is of the utmost importance when photographing. Otherwise you end up with shots looking like they were taken in a parking lot.

You will be motivated and excited by the speakers, as all of us have experience in how to make images better. But it’s not about our ability to make images better, it’s about us teaching you how to make YOUR shots better. All of the speakers are entertaining, educational and, most importantly, accessible. We do our best to answer questions and to help guide you through the labyrinth of photo editing.

9 panel, 3-d panorama stitch

9 panel, 3-d panorama stitch

This symposium will cover some shooting and composition with respect to post processing, that is, what you do after you click the shutter. How do you use Lightroom, what’s the best way to edit your shots, and more advanced techniques for:

  • Panorama multi-image shooting
  • HDR (high dynamic range) images
  • Focus stacking
  • Black and white processing

These symposiums have been very well received because attendees get a lot of education for their time and the nominal cost. If you have ever wanted to learn the basics of how to make your photographs look better, this is the event to attend.

Click here for the symposium link and become a better photographer today.

Jackson Hole Daily news article about the symposium

Jackson Hole Daily news article about the symposium

 

Photographing paintings

I had a client come to be and ask about photographing some paintings. He wanted to have them shot with enough resolution to make reproductions of them for sale. Wonderful! I was glad he called because it’s not as easy to photograph a painting as one might imagine.

As you can see below, the shot is terribly washed out on the left hand side. What happened?

Washed out glare

Washed out glare

Glare from the flash caught the surface of the painting and bounced into the camera, creating a badly washed out looking left side. What about the right side? I had the polarizers from the lamps set to the proper orientation, so it looks fine.

You’re asking – wait a minute..did he polarize the flashes? Yes, in order to eliminate glare off the painting, I needed to polarize the light coming from my flashes. This way, I could align the light in such a manner as to nearly eliminate all the glare coming off the painting even before the light hit my camera lens. But, to get the correct effect, the lens also happens to have a second polarizer on it. And you need to use a polarizer alignment card to check the polarization to make sure it is correct.

Confused yet?

There’s a lot to photographing products and artwork because if done improperly, these problems will show up:

  • Glare
  • White balance
  • Color calibration
  • Lens distortion
  • Orientation/perspective distortion

All of these problems will ruin your attempted reproduction. In order to photograph flat artwork properly, you’ll need the following tools beyond the usual photo tools:

  • Polarizer panel for each light source
  • Diffuser for polarized light source panels
  • Polarization angle detector
  • Polarizer for camera lens
  • Color calibration reference card for printing
  • Distortion profile for your lens
  • Light stands
  • Powerful strobes
  • Light meter with remote trigger or flash sense

It takes quite a bit of equipment and even more know-how to photograph flat art properly. Even if you’re able to get away from the glare, the color calibration is a major deal. If your colors are incorrect, the client is going to be very unhappy. You can’t just put your camera on flash white balance and assume it’ll all work. Polarizers subtly shift color (especially in sunlight),  plus the color dye balance of your camera never matches the flashes. And the color balance of your flashes is never correct.

No matter how much effort you put into trying to color balance your lights, you’ll never get 100% of the way there. The only way is to have and use a color reference card, then know how to calibrate the final image so it looks correct.

Also, using hot lamps (light bulbs) is problematic for 2 reasons. They’re easier to align for polarization, true. But you have to have a LOT of light power to expose the image properly. That means your very expensive/nice painting is boiling under quartz halogen lamps.

Or you have to have a very long exposure. That means the rest of the lights in the room have to be extinguished. But wait, you’re in your gallery, so you can’t shoot this in the dark. So you need even more and more powerful lamps.

Then notice that the blues in your image are too dark because you’re using a tungsten/halogen light source. So you adjust the white balance but notice that there’s blue noise in your image.

It’s important that the light is uniform across the image as well. Otherwise there will be gradients of light that aren’t in the original piece. This makes a BIG difference. In order to measure the light uniformity, you’ll need to use a light meter (I use Sekonic-L608C) to check the uniformity across the painting. And you’ll need a way to remote trigger your strobes from the light meter while doing this as well. If the painting is brighter on one side or spot than the other, you’ll not be happy with the reproduction.

You care about getting the image correct, right? The above is the basics of what you have to consider, own and understand.

Or, you can just hire me and I’ll get you the images without the headaches and $1000′s in gear you’ll have to have to make this work correctly.

Color corrected, no glare

Color corrected, no glare

Note – Edge intentionally left on images

HP Laserjet Pro 200 m251mw review

We just upgraded our lowly HP Laserjet P1102W with the HP Laserjet Pro 200 m251mw to print color brochures, flyers and mailers. We’re not getting rid of the P1102W, as it’s a great little desk printer that snaps to attention in a second when printing from iPads and iPhone as well as our Mac computers.

Overview of HP LaserJet 200

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LCD interface

After working on the wireless settings for a bit, we were able to set up the connection to the router. That was pretty easy to do following the wireless prompts. Setting up the direct connection was a little more challenging only because I didn’t realize I had to click through three follow-me prompts. Once I got that part down, the iPad connected to the printer without a hitch.

The printer is heavy, weighing in at 40 pounds. It’s not a little desk printer unless you have a whopper of a desk. It’s best on its own little place. It has network, USB, wireless and all the other expected connections for printing. It’s a nice black box, much more attractive than the beige HP printers we’ve had for decades. The aesthetic is good. But that’s not why we bought it.

Competitor

4 toner cartridges - yeah

4 toner cartridges – yeah

We looked at the comparable Brother model HL-3170CDW as a worthy competitor. It has 600×1200 resolution and real duplex printing, something I really wish the HP 200 had. The HP can’t do single sheet flow-through feed. That almost pushed us to the Brother, but our experience with Brother products has been poor, so overcoming the negative history was difficult. But the Brother was reported to be difficult to work with Apple products and also the toner cartridges report being out based on page count, not an actual toner measurement. There are tricks on the web to get around this issue but we don’t have the inclination to fool around, we just want to print and get things done. The HP won.

Installation

My Mac did the install for me, all I did was plug in the USB cable

My Mac did the install for me, all I did was plug in the USB cable

I plugged the USB cable into my Macbook Pro and, as expected, OS X downloaded the driver, set the printer up and I was ready to go. No searching for drivers, wasting time figuring out irritating (HP) websites, analyzing why the driver didn’t work, and so forth. This is why we use Apple – sure it’s expensive, but at $100/hour, the “savings” of a PC gets eaten up in time wasted pretty quickly.

Heads and Tails

So far the print quality has been pretty amazing for an inexpensive 600DPI laser. It has a few gripes but nothing we can’t get past, at least for now.

Positives

  • Print quality
  • Direct print speed
  • LCD interface
Gripes

  • Toner cartridge price
  • iPhone/iPad print speed
  • Paper tray size (150 sheet)

Discussion

Printer with paper tray open

Printer with paper tray open

The print tray only holds 150 sheets for a printer this big, that’s embarrassing. Even my HP Laserjet 4P held more 20 years ago and it was smaller. The lack of feed through printing for card stock, envelopes and such is also a horrible omission. Maybe it’s too difficult with the feed path design, so who knows.

The toner cartridges are wretchedly expensive. Replacing 3 color (cyan, magenta, yellow) will set you back $210. Yes, that’s right. The extended black cartridge is another $80. Owch. But our experience with laser printers tells us this that printing $0.13/page compared to the liquid gold price of inkjets makes the laser win hands down.

The laser can sit for a year, fire up and print without issue. This is not a minor consideration. Ink jets clogged up just after 6 weeks of no use and require wasted time/$$$/frustration with nozzle cleaning. This cleaning process eats up huge amounts of ink and time. And, invariably, you’ll begin a print before you realize the jets are clogged. The ink jet wasn’t a consideration at all. Laser print resilience is far better, as one drop of water ruins ink jet prints whereas color laser prints are as tough as monochrome laser prints.

The print quality on this machine is amazing. It’s no 2800DPI photo printer but it holds its own far better than I ever expected. Its quality is far better than the P1102w in black and white, too.

Performance straight out of the box

This first image is printed from this PDF resolution test file on Staples 20 pound 89 brightness copy paper. The image was taken with an iPhone 6 under tungsten lighting – not the best representation for the quality of the image. And it’s generally dark, so the iPhone image is grainy, so note that for your image quality review.

The lighting caused the color shift as seen on the paper, but looking at the actual image, it’s amazingly good. At 0.25pt, the Red (MY) print shows some waviness in the Red. Apparently this can be calibrated out. If that’s the case, I expect the printer to look even better than it already does. (click for full-resolution image)

Printer test page

Printer test page on Staples 20lb 89 brightness paper, under tungsten light with an iPhone 6

The second print page (again tungsten lighting, iPhone 6 image) comes from this JPG image test file. Again, the quality is amazing. We’re comparing the image to the original file viewed on a Macbook pro retina display and though the color isn’t perfect, it’s very near to the original. Since the printer is CMYK, there’s no way it can represent the color gamut of an sRGB file, so that’s fair. But just looking at the strawberries, I keep looking and am just amazed how good it looks. (click for full-resolution image)

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Print out on Staples 20lb 89 brightness paper, under tungsten light with an iPhone 6

Our best sub-$1000 ink jet printers looked TERRIBLE when printed on basic laser paper at high quality. At low quality, the ink jet was a joke. We’d always have to put in expensive paper, spend time, $$$, and irritation just to get to something matching this basic quality. Sure, the inkjet easily surpassed the resolution of this laser, but only when we used $1/page paper and a fortune in ink. So sure, the ink jet might seem better, but when you pour that much ink onto cheap paper, it ripples and is instantly damaged by water (think someone’s spittle hitting the paper – oops).

I’ll say it again – this is on cheap copy paper. Not expensive paper. So sure, you might see that your inkjet cartridges are cheaper, but to look good always, you have to use expensive paper. The HP 200 looks good on $0.01/page copy paper. Put that into your calculator when you’re figuring print quality/cost/volume.

The area where I can see the resolution catches up is in the electronics image and the the baby on the right hand side. At normal viewing distance (12 inches) the people look very good, though there’s a tiny bit of pixelation. The electronics image with darks and fine diagonal lines show the printer resolution limit. But you can still read “FULL AUTO STOP” without issue. The A’a lava looks really good for being a nearly black item.

Here’s a flyer we made up for photography tutoring. It’s much more interesting and eye-catching with color, a big upgrade from the black and white (yawn) we were using. Again, these shots are the same conditions as above. (click for full-resolution image)

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Photo tutoring flyer

But here’s the amazing thing. Even though I’ve not calibrated the Red so there’s no waviness in the 45 degree print, you can actually still read the FX badge on the Nikon D800.

The FX badge is readable

The FX badge is readable

This gives you a good idea of at what size the FX badge is relative to the entire brochure. I was amazed (again) how good this looks on cheap copy paper. Have I belabored the point? I can see the FX and read it at 12″ without glasses. For basic mailers, flyers and such, this is awesome. My main gripe is that I can’t send cardstock through the printer to make heavyweight brochures. I’ll still have to have that done elsewhere. Then again, if I wanted that ability, I could have stepped up and spent $500. And if I’m doing that much volume, I hire it out anyway, so I’m not going to waste toner to make 100′s of brochures on this laser paper.

Issues

The gamma isn’t correct on the printer but we’re not worried about that. It’s not a photo printer and we know that. The black zone below 16 (out of 255 steps) is indistinguishable from the black. And values above 243 (out of 255 steps) are indistinguishable from white. These all sound bad but it’s actually very difficult to tell in a photo image.

Wait, did I say no single sheet feed?

Conclusion

For $169, this printer is an amazing steal. As long as it doesn’t blow up with 2 years of use, I’ll be happy. I won’t be happy if it does die, but consider this: Staples charges $0.59 for basic color copies and $0.69 for high quality paper copies. It only takes 462 color pages printed off the laser to pay for itself in color copies from the store. We’ve already printed up 20+ pages on the first day. I expect we’ll cover the price differential very quickly. Plus, we can print at off hours and don’t have to drive anywhere to get these done, thus saving more money and allowing us to work at the normal crazy hours.

I’d buy it again. That’s my final analysis, even without duplex or feed-through printing.

Is this the end-all color printer? No, absolutely not. But at this price, it’s a steal for us.

We’ll update this page as we learn more.