The Man Who Waits For Wonder

He calls it a hobby. But Randy Lowden lies flat at the waterline behind  a camo-covered lens. He studies light, wind, reflection, and the split-second instincts of birds that vanish if you move too fast. 

The result? Images that put you nose-deep in the water, inches from creatures most people will never see up close. A duck in motion, with feet slapping water like it's running across glass; a Reddish Egret, gliding like it  owns the sky.

Randy takes us inside the art- and glorious obsession- of wildlife photography: the waiting, the research, the missed shots, the giant 600mm lens, and the quiet thrill of chasing a single perfect frame.

This episode is for anyone who has ever wanted to follow a fascination—and wondered if they had what it took.

Randy Lowden/Flickr

Today's episode is brought to you by the Joan of Arc Scroll Medal, a beautiful brass alloy medal, designed by award-winning artist, Pat Benincasa. This uniquely shaped medal is ideal for holiday or as a special occasion gift!    Visit www.patbenincasa-art.com

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Transcript

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Pat:

Fill To Capacity where heart grit and irreverent humor collide. A podcast for people too stubborn to quit and too creative not to make a difference.

Pat:

Hi, I am Pat Benincasa and welcome to Fill To Capacity. I'm so glad you're here. Episode 139, "The Man Who Waits for Wonder." Okay, Northern Shoveler, Bufflehead, Greater Yellow Legs, Lesser Yellow Legs, Common Golden Eye, Piping Plover, Canvasback , Ruddy Turnstone. Maybe you've never heard these names before. That's okay, because my guest not only knows their names, he knows where they live. He is someone I've known for a long time. Okay, he's my Canadian cousin, and for several years he's been posting spectacular wildlife photos, really breathtaking. And he is the first to tell you that he is not a professional photographer, but all I can say is look at his work. And I have, he goes out with a camera and comes back with images that make you stop scrolling a bird, mid leap wings, fanned beak locked on a branch, a Grebe floating on, still water that impossible red eye catching the light, a Merganser lifting off the water surface in a spray of gold and black. Okay, listeners, I just learned this because Merganser are diving ducks. They need a running start across the water to get airborne, which creates a dramatic, beautiful spray of droplets, especially in the gold and black light of sunrise or sunset. Okay, back to my guest. So how does he get that close? How does he know when to wait and when to move? What does it take to see the world at that level of patience and attention? That's what we're gonna find out today. Welcome, Randy Lowden. So glad to have you on Fill To Capacity!

Randy:

Hi Pat. Thank you for having me. It's a pleasure.

Pat:

Okay, I have been waiting for this conversation. Let's start at the beginning. How long have you been doing photography?

Randy:

Well, I've been doing photography probably for about 30 years in one form or another. I started as a hobbyist with really very basic understanding of, uh, workings of a camera or the material involved in making a good photograph. I guess I would say that I started seriously almost by accident or one time I was asked to, photograph a ball tournament and, portraits of the teams as a favor. After that, Christine, my wife, helped me with that and, we decided that maybe we could branch further branch out.

Pat:

Do you remember your very first wildlife photo?

Randy:

I think I do, and it's a bit of an interesting story, and I think it's very relevant because I remember we had a bird bath in the backyard and I was watching a Robin preening or splashing around in the water. And so I thought, well, this will be fun. I'll take some photographs of this. And I'll never forget that because it really was the beginning of my so-called bird photography. I always tell people that my main interest was photography to begin with, but birds gave me something to really strive for. It was, and as I took more and more photographs, I began to realize that this was very challenging. The idea is not to just take a snapshot. Once you branch into further your so-called wildlife or bird photography, there are certain elements that go together to make a good photograph to separate almost a portrait from a snapshot.

Pat:

Oh, that's interesting. To separate a portrait from a snapshot. Can you say more about that?

Randy:

Sure, one of the big elements that separate a just a snapshot from a portrait is the angle at which the photograph is taken. For instance, if I was standing on a dock and a duck swam by and I photograph that duck, looking down at that duck, I think I would get what I would call a snapshot down, or probably better yet, the shore. And then the angle is parallel or on the same plane as the duck, and it makes a dramatic difference. And maybe you've noticed, looking through some of my photos that most of the photos are taken from a very low point of view straight on, so to speak. That also helps with what's called the depth of field, which is, is a name that describes the amount of focus you'll achieve in the image. And we strive for a very shallow depth of field. We want very little in focus in front of the bird and in the back of the bird. So that angle really helps with that as well. It really narrows that area of what's in focus, and that helps the bird drastically stand out from the foreground or background.

Pat:

Well, now you've answered a big mystery. When I look at your work, I swear, Randy, I am in the water at the level of the duck. You have a way of putting your viewer in the water with you, whether you're flat on the, on the shore or the dock, but the feel of it, it's like we're right next to the bird with our nose just above the waterline. So thank you for explaining that.

Randy:

Thank you for pointing that out. It really does make a big difference if you're serious about bird photography. That's one of the things that you really need to bring into your technique.

Pat:

Well, now you've segued into my next question. I'm curious, do you research each species their habitats, behaviors, location, preferences? How much of your work is research?

Randy:

That's a good question because there is some research involved. I'll start with many times, uh, even now, but especially when I was beginning photographing birds, there were a lot of times where I would photograph a bird and I wouldn't know what it was. So I would have to come home with that photo and, and research and try to find what that bird is. So I suppose it's natural the more photographs you take of birds, the more you begin to have an understanding for or know what each subject is. Also, there are some good online references. One of the websites I use is called eBird, and it's a good site for identifying subjects that are in any location. For instance, locally, there are three or four places I know that will be good for bird photography, and those places are identified on eBird. As far as what somebody found perhaps the day before and how many. So if I have a specific target in mind, I can look at that site and say, oh, at this location somebody saw this bird. I'm interested in photographing that bird.

Pat:

Yeah. And excuse me, your here is in Ontario?

Randy:

Yes. Southern Ontario.

Pat:

Can you walk us through what goes into a single image? Like what are you thinking about before you even press the shutter, like light timing position? And the big question is how much of it is planned versus your instinct?

Randy:

There is a lot of planning involved. I also consider the weather, and what I really look for is a calm day with very little wind. Wind, and that makes the water appear like glass. And another thing about that look is the color of the water. So if I have a cloudy day, that water tends to be either really bright white or a gray color. There isn't a lot of beauty in that, but if I have a nice sunny day and I have maybe a blue sky, so I pick up that blue in, in the reflection of the water, or a lot of times I'll have a duck in my sights and I'll know that it's in a location right now where the water really isn't pretty, but I can see as it's swimming, there's a, an area of water may just ahead of it where there's some beautiful color. So I can track that bird and wait for that moment for the bird to come into that little area of water with a beautiful reflection and take the photo there. And again, it makes a big difference.

Pat:

Well, I must say, looking at your photos, I know the photo is of the bird, but for me, the second character in your photograph is the water. There's such a connected relationship, especially when you get those reflections or splashes that water is, is almost as important as the beauty of the bird.

Randy:

Very much so it really does add to the photograph.

Pat:

Oh, yeah, it really does. Now, okay, I wanna do some shop talk here. For any of my listeners who are photographers, what kind of gear are you using? Like what do you pack up when you go on site?

Randy:

That is an important consideration. If I know that I'm going out specifically for bird or perhaps duck photography, then I know that I'm going to want to use a certain lens and I have different lenses for different things. So that is consideration. I'm lucky enough to have a 600 millimeter lens with a large opening. So that particular lens allows a lot of light to come into the camera. It's a technical consideration, but certainly I do consider what I need to bring as far as equipment goes, depending on where I intend to photograph. Sometimes situations will present themselves where I wish I had brought something else in addition to, but maybe that's a good problem to have.

Pat:

Yeah, it is. You know, you're taking these photographs and you keep doing it. Was there a moment when you realized you needed something better for what you were trying to capture and the second part of that did upgrading feel like, whoa, what am I doing? This is getting serious.

Randy:

Hmm. Yes. The technology is really increasing. It is becoming easier to take nice photographs as the technology improves. For instance, there's nowadays there's eye tracking ability in the cameras. And if you have anything, if you need anything in focus of your subject, it certainly needs to be the eye. The new technology tracks the eye. Once the eye is in focus, it locks onto that eye and for instance, follows the bird along the path of the bird's eye. And it certainly helps.

Pat:

I know you have telephoto lenses and things like that, but how do you get so physically close to birds without disturbing them? I mean, do you wait for hours? Are you out there like all morning waiting for that moment?

Randy:

It helps to be in an area where the birds are fairly tame. In southern Ontario, I find that there aren't many places or birds that, that are tame and it makes it difficult. So there is an element of sitting and waiting for a bird that perhaps doesn't know you are there to swim by. In saying that, sometimes I have an occasion to go to Florida to photograph birds, and the difference is night and day, and I don't know why, but the birds in Florida don't mind your presence. It's as if they don't even know you're there. They certainly don't care. And bird photography in Florida is so much easier and I think more enjoyable. It's challenging here in southern Ontario. In saying that, that's where I live, so that's where I shoot. Yeah, for the most part.

Pat:

I gotta ask this. Do you ever blow a shot because you moved too soon?

Randy:

That can happen at times. I think the birds are really aware of movement. So if I do move, suddenly that can scare a bird and the bird will typically fly away before I can get a shot.

Pat:

Okay.

Randy:

When you're photographing birds, you do wanna move slowly. Even if you're approaching a bird, let's say you're walking towards the shore, you do make a point of walking very slowly. A lot of times you try to walk without directly looking at the bird, they tend to notice that as well.

Randy:

I think it's in their instincts. If they see perhaps something that could be a predator that's visually locked onto them, they certainly don't like that. Yeah,

Pat:

I don't blame them. Okay. Now when you go out, do you go with a idea like of a specific species that you wanna shoot in mine? You wanna photograph or do you go out sometimes just to see what you find?

Randy:

Yeah, probably, uh, both equally. There will be times where when I look on eBird and I see that somebody saw this specific bird or duck that oh yeah, I want to photograph that. But a lot of times as well, I'll just think, well, I wanna go out and I wanna take some photographs tomorrow, so I'm going to a place I think is good, and I'll see what happens.

Pat:

Okay. Now is there a species you've been chasing for a long time but haven't gotten yet?

Randy:

There is a species that I'm very interested in and it kinda leads into the fact that my wife and I are about to take a trip very soon to Newfoundland, and there are Atlantic Puffins in Newfoundland that we never get here in southern Ontario. That's a species I'm really looking forward to shooting. Also, my trips to Florida allow me to shoot species that I would never see here as well.

Pat:

What other places have you photographed? What parts of the world?

Randy:

My wife and I have traveled to Alaska. The, the landscape photography was spectacular in Alaska. I didn't get to photograph many birds in Alaska. Oddly enough, there is a large presence of bald eagles, American bald eagles in Alaska. So I remember, um, seeing them in the sky a lot. My wife and I have also traveled to Iceland, and the scenery, especially in Iceland is phenomenal. What I wanna mention about trips is a lot of times I find the photography limiting because you're with groups and it takes time to take a good photograph and the group doesn't wanna stand around waiting for you to do what you wanna do. So it's good that my wife Christine, and I are going to Newfoundland to photograph the Atlantic Puffins because we're on our own and we're not dependent upon other people or a group or a timeline. So that'll really help.

Pat:

I wanna ask what made a place so special, like the wildlife, the light or the feeling of it that you would go back at the drop of a hat?

Randy:

Certainly the different scenery. For instance, Iceland, I'd never seen anything like it. It was, it was almost like you weren't even on earth anymore. It was almost like you were on a different planet. The scenery was just so different from anything I've seen around here. And as well, Alaska was good too, for stunning mountain ranges that we just of course don't see here. So those two places, especially like Alaska and Iceland for the difference in scenery, not so much nature photography, although certainly the opportunity is there. But as I was saying, we didn't have time to really do a proper job of nature photography. Being with the tour groups.

Pat:

Yeah, that would make it hard. Has there ever been a moment in the field that something happened unexpected or surprised you that has stayed with you?

Randy:

Yes. There are times where you'll be watching a duck or a certain subject and all of a sudden it'll take a fish out of the water that you didn't anticipate that happening. That's always a rewarding experience. And of course you wanna get a shot of that when it happens. And sometimes it just happens so quickly that you miss the opportunity, you miss the shot. But yeah, that's always a bonus. Anytime that you can photograph a bird in motion or doing something, it certainly adds to the element of the photograph.

Pat:

Now, are you a patient guy? Are you patient by nature?

Randy:

Yes, I think so. Maybe photographing birds has made me become more patient than I might normally not been.

Pat:

Okay. Because it just strikes me that, you know, you're traipsing out into the wild. You've gotta set up all this equipment, then you have to wait, and then the weather and all these factors. That's a lot of variables that you have to bring to your work.

Randy:

Certainly that's true. I often photograph with friends that I've, in most cases met through the hobby, and we always joke about how difficult it can be at times, but we say if it wasn't difficult, if it was very easy, it wouldn't be fun.

Pat:

Absolutely.

Randy:

So that is why it's, it's fun and enjoyable and can be very rewarding.

Pat:

In different conversations that we had on email, you said that there are thousands of hobby photographers whose work is just as good as yours, and you said he, or even better, but when I look at your photos, Randy, there's something, there's a, a moment, a quality of light, a closeness that just feels so distinctive to me. And as we said earlier, your images allows the viewer into the photograph. It's, it's like, we're there in the water or we're in the trees. You bring us right in with your subject. My question is, what do you think separates a good wildlife image from a great one?

Randy:

Well, one of the considerations would be, uh, background elements. And a lot of times you don't have control over this, but sometimes there'll be like a very bright reflection in the background, more or less a distraction. If you luck out, you don't have that. Ideally when you're photographing birds, you wanna have a consideration for what's in the background. And there are a lot of times where you can move sideways a little bit here and there, just a step or two, and it makes a huge difference in what's in the frame. So the idea of achieving a clean background is, is a big consideration. And what separates a great photo, perhaps from an average photo. The background is certainly a very large consideration. And as I think I mentioned earlier, what I call the quality of the water, hopefully it's smooth. And anytime you can get a reflection of the bird in the water is an added bonus that certainly helps separate a average photo from, from a better photo.

Pat:

And I ask that because now with our iPhones with 14 megapixels or 12 megapixels, we just go out and take photos and everybody can do that. But there's something in your work that isn't just picking up the camera there. I think what you're saying is the context, the contextual presentation of this magnificent bird or duck, it's also unified. Like that's what makes it so special and makes the viewer feel like we're there right at that moment.

Randy:

There are controls used in cameras and lenses that perhaps cell phones don't have. So that really helps. My equipment has technology. Technology, if you learn how to use the different functions of the camera I own, for instance, it's much easier to achieve a better photo than something that you can get with a cell phone. I know cell phones can take some beautiful images, but they just don't have the controls. Maybe I can add to that. I spoke earlier about the depth of field or the area that's in focus in a photograph, and certainly I have two or three different ways to achieve that. Look, I'm going for where I think with a cell phone, you just get what you get.

Pat:

Pretty much, for me it's point and shoot.

Randy:

Right? It tends to be that way, at least my experience. There may be people that can really make a cell phone dance, but that's not me.

Pat:

So I guess this begs the question, how much is luck in wildlife photography? Or does luck only find those who are prepared?

Randy:

I think you're right. Luck finds those who are prepared and there is certainly a, an element of luck, but most of it you need to consider where you are. The light angle, typically I want the sun behind me. It makes for a better photograph. I find if I'm shooting into the sun, then the, the duck will be in, in shadow and it makes it very difficult to obtain detail in a photograph with a, a backlit subject.

Pat:

This is a tough question. Is there one species, bird duck that you just absolutely love?

Randy:

I think so. I think maybe my favorite bird to photograph is probably the Belted Kingfisher. And they are the most nervous bird I've ever come upon. If they see you, they are gone. it's difficult to photograph a Belted Kingfisher.

Pat:

Do you have to use a telephoto lens just to get in proximity?

Randy:

Yes, very much. You can't get close enough to a Belted Kingfisher unless you're extremely well hidden where you need a telephoto lens, absolutely. You, you just can't get close enough to them without it.

Pat:

Now the photo you sent me of you, you're walking with your gear and the first thing I noticed, Randy, is that lens that's on your back is almost as tall as you.

Randy:

Now it's a very large lens, that's for sure.

Pat:

How long is that thing? I mean, how big is that?

Randy:

Well, it's described as a focal. So the focal length of that lens is 600 millimeters,

Pat:

600 millimeters is almost 24 inches.

Randy:

And another important consideration is the lens aperture. So that particular lens can photograph at a lens aperture of F4. I know we're getting complicated here.

Pat:

So what does F4 mean?

Randy:

F4 is, is a lens opening. There's a diaphragm inside a lens that opens and closes. So that particular lens at F4, the diaphragm is open as wide as can be. So it lets the most amount of light into that lens it can handle. Now, if I want more in focus, then I'll close the lens down and shoot it something like maybe F8. So that causes the lens opening to decrease, but at the same time, you get more in focus, more with a smaller lens opening. Okay. So that might be a consideration.

Pat:

I guess my question is, is that telephoto lens that you are carrying? Is it three feet long, two Feet?

Randy:

I think so.

Pat:

That's huge.

Randy:

A funny thing about that lens too is the lens hood. It's almost, I'd say half the size of the, the actual lens. The lens hood, it shades the front element so that the direct sun doesn't shine on the lens element. It makes the lens look a lot larger than it really is.

Pat:

Well, looks pretty big to me. And I noticed it was camo colored, that camouflage exterior, it looks like something out of a military operation.

Randy:

Oh yeah. That's a funny thing. The camo does help, but it's almost like a uniform. It's a funny thing. Like hobbyists have uniforms that I always thought, and that's kind of part of it, but it certainly does help. For instance, without that camo cover, that lens is bright white, you know, it would be certainly obvious to anybody or anything around.

Pat:

Yeah. Also it would glare.

Randy:

Oh, absolutely. Even the, the camo cover helps protect the lens from getting bumped and scratched and things like that too. It is a necessity.

Pat:

What is it you love most about photography Exactly? Is it the whole thing? Is it going out into the wild? Is it the moment when you capture what you're looking for? What is it that you love most about doing this?

Randy:

The thing I like most about bird photography is just getting out. And anytime I come back with an image that I'll keep, that's a bonus. Certainly that's what I'm striving for. But if it doesn't happen, then I still had a nice time. I still enjoyed myself getting out and going through the motions, so to speak.

Pat:

All these years that you've been doing it, has it changed the way you see the natural world from day to day, even when you don't have a camera?

Randy:

Absolutely. I have to say that's true. If Christine and I are out for a walk and I happen not to have a camera, I'm still looking at things as if I was carrying a camera and enjoying nature that I may not have considered otherwise.

Pat:

So when you go out, you're conscious that you're not bringing camera equipment if you're going out for a walk, right?

Randy:

Well, yeah, a lot of times I often think, gee, I wish I brought a camera. But there are are times where you just can't do it. For instance, it is getting difficult to travel now with that large lens. I think the carry-on sizes are shrinking, so I certainly wouldn't wanna check that lens. Anytime I've traveled with it, I've always put it in a carry-on bag. And it's becoming difficult now to actually carry on a lens that size. So there are a lot of times where it just, situations just really don't allow for carrying equipment, maybe you know, surprise or impromptu walks.

Pat:

So Randy, where can people find your work?

Randy:

I upload my images on a photo sharing site called Flickr. I think it's flickr.com. And it's enjoyable to share images with friends and, and other people. I open Flickr every morning and look at my friend's work as well and what they've posted, and that's very enjoyable. And then you can comment on the image back and forth. That's an enjoyable aspect of the posting photography,

Pat:

You know, you could have a website of course, and then people contact you, but the thing that you're talking about is this community now that you're a part of. So you look at other people's works, you look at comments that they make and it becomes more than photography, you, the camera and what you're shooting and it becomes this community of people doing what you're doing and sharing your triumphs, your frustrations, whatever. So you really cultivated that community aspect that's really important.

Randy:

I absolutely agree. It really adds to the hobby whether I'm out on location and, and come upon people I know and, and enjoy their company. Also, meeting new friends, that's an enjoyable aspect of the hobby. And then online contacting them or viewing their work. I think there really is a social aspect of this hobby.

Pat:

Well, that's wonderful. I will post a link to your site in the show notes. So as we get towards the end of our conversation, what do you say to someone who's always wanted to do something like what you're doing, but they talk themselves out of it? What would you say to them?

Randy:

Oh, I would say, you have to try this- It's so enjoyable. It's intimidating at first. I think like anything, maybe you won't be happy with your results to start with, but the more you photograph, the better you get. There are a lot of resources, very good resources. YouTube, for instance, I'm probably watching YouTube videos every day about bird photography. It's an excellent way to learn. Everybody has to start somewhere and I really recommend this hobby. If you're thinking about photographing wildlife, absolutely give it a shot!

Pat:

Can you even imagine your life had you not done this?

Randy:

Well, I suppose no, it, it's a difficult question to answer I think, but it's very difficult to imagine my life without... I guess I don't know what it would be, but I would have probably found a different hobby. But I'm enjoying this one,

Pat:

Randy. It shows, believe me.

Randy:

Oh, thank you.

Pat:

Randy Lowden, thank you for coming on Fill To Capcity today and giving us a behind the scenes of what goes into your work, the magic, if you will, the hard work magic that you do every time you pick up that camera. Thank you so much for coming on.

Randy:

Oh, thank you for having me. It was a pleasure.

Pat:

Great. And thank you listeners for joining us and take care. Bye.