Day 294. Natural Camouflage
by Christine Walsh-Newton, David Schmidt, Matthew Roharik, Melissa LaRose, Tom Hauc
The Daily Book of Photography
- Cover
- Title Page
- Contents
- Introductions
- Day 1. Camera-derie
- Day 2. Ancient Times
- Day 3. Ansel Adams (1902–1984)
- Day 4. Night Photography
- Day 5. Double Exposure
- Day 6. Life as a Photojournalist
- Day 7. The Model Test
- Day 8. World’s Smallest Camera
- Day 9. Soul in the Window
- Day 10. Families
- Day 11. Definition of Photograph/Photograph
- Day 12. The First Photograph
- Day 13. Herb Ritts (1952–2002)
- Day 14. Filling Shadows
- Day 15. Capturing a Moment
- Day 16. Toolbox Essentials
- Day 17. Fashion Stylist Team
- Day 18. A Child’s Dream Comes to Life
- Day 19. Mini Mount of Olives
- Day 20. Uncle Sam Wants You
- Day 21. Types of Cameras
- Day 22. Thomas Wedgwood
- Day 23. Richard Avedon (1923–2004)
- Day 24. Birds of Prey
- Day 25. Conceptual
- Day 26. Serendipity: UC Berkeley Mascot
- Day 27. Shooting Youth with Drama
- Day 28. Impressionistic Photography
- Day 29. Sand Jumper
- Day 30. Poverty
- Day 31. SLR vs. Point and Shoot
- Day 32. Louis Jacques Mande Daguerre
- Day 33. Annie Leibovitz (1949–)
- Day 34. Sunrise
- Day 35. Group
- Day 36. Using Your Head, Not Your Gear
- Day 37. Working with a Makeup Artist
- Day 38. Undressing for Art
- Day 39. Succulent
- Day 40. Religion
- Day 41. Camera Modes
- Day 42. The Calotype
- Day 43. Anne Geddes (1956–)
- Day 44. Sunset
- Day 45. Comedians
- Day 46. Use of Light: Silhouetting
- Day 47. Working with a Hairstylist
- Day 48. Urban Legends I
- Day 49. Geen Toegang (No Entry)
- Day 50. Unity
- Day 51. Camera Settings
- Day 52. Stereoscopic Photography
- Day 53. Diane Arbus (1923–1971)
- Day 54. Low-Light Photograph
- Day 55. Use of Color
- Day 56. Capturing Action
- Day 57. Casting Your Talent
- Day 58. Ghost Photography
- Day 59. Santa Barbara Mission
- Day 60. Financial Disaster
- Day 61. The Shutter and Light
- Day 62. Photography and the American Civil War
- Day 63. Irving Penn (1917–2009)
- Day 64. Wind Farms
- Day 65. Artists
- Day 66. Celebration
- Day 67. Lights, Camera ...
- Day 68. Famous Fakes
- Day 69. Poppy Red Cars
- Day 70. Old Age
- Day 71. The Shutter and Motion
- Day 72. Motion Studies
- Day 73. Henri Cartier-Bresson (1908–2004)
- Day 74. Farm Fields
- Day 75. Musicians
- Day 76. Right Place at the Right Time
- Day 77. Essential Light Modifiers
- Day 78. Tampering with History
- Day 79. As One
- Day 80. Homelessness
- Day 81. The Aperture and Light
- Day 82. Eastman Kodak
- Day 83. Edward Curtis (1868–1952)
- Day 84. Autumn Color
- Day 85. Drawing with Light
- Day 86. Specificity vs. Serendipity
- Day 87. Essential Light Modifiers
- Day 88. Revolver Camera
- Day 89. Vanitas
- Day 90. Greed
- Day 91. The Aperture and Depth of Field
- Day 92. The Study of Photography
- Day 93. Margaret Bourke–White (1904–1971)
- Day 94. Tranquility
- Day 95. Color Cross-Processed
- Day 96. Off-Field Score
- Day 97. Essential Light Modifiers
- Day 98. The Victorian Dead
- Day 99. Hong Kong from The Peak on a Summer Night
- Day 100. Mighty Transportation
- Day 101. Change One, Change Them Both
- Day 102. Oskar Barnack and the Leica
- Day 103. Imogen Cunningham (1883–1976)
- Day 104. The Tree
- Day 105. Use of Sunlight
- Day 106. Use of Light: Front Lighting
- Day 107. Secret Garden
- Day 108. Urban Legends II
- Day 109. Bay Bridge
- Day 110. Employment
- Day 111. Overview of Lenses
- Day 112. Nikon
- Day 113. Dorothea Lange (1895–1965)
- Day 114. Flowers
- Day 115. Environmental
- Day 116. Back Lighting
- Day 117. Setting the Mood of the Shoot
- Day 118. The Human Soul
- Day 119. Victoria Beach Tower
- Day 120. Daily Routines
- Day 121. Focusing Your Lens
- Day 122. Photograms
- Day 123. Helmut Newton (1920–2004)
- Day 124. Woodland Paths
- Day 125. Use of Shadow
- Day 126. Backlit
- Day 127. The Ring Flash
- Day 128. World’s Largest Camera
- Day 129. Still Life with Nail Polish
- Day 130. The War Machine
- Day 131. Focus and Depth of Field
- Day 132. Stroboscopic Photography
- Day 133. Patrick Demarchelier (1943–)
- Day 134. Nature Centers
- Day 135. Use of Location
- Day 136. Perspective
- Day 137. Wardrobing Your Subjects
- Day 138. Performance Art Meets Photography
- Day 139. Watching Sunrise
- Day 140. Humility
- Day 141. How Lenses Affect Perspective
- Day 142. Group f/64
- Day 143. Baron Wolman (1937–)
- Day 144. Abstracts in Nature
- Day 145. Black and White
- Day 146. Negative Space
- Day 147. Influential Fashion Photographers—Past
- Day 148. Contemporary Daguerreotypes
- Day 149. Dark Versus Light, Day Versus Night
- Day 150. Urban Decay
- Day 151. What Is ISO?
- Day 152. Kodachrome
- Day 153. Eadweard J. Muybridge (1830–1904)
- Day 154. Creating a Mood
- Day 155. Colorful
- Day 156. Framing
- Day 157. Lights, Camera ...
- Day 158. The Last First Contact
- Day 159. The End of the Line
- Day 160. Marketing Political Ideas
- Day 161. Overview of Exposure
- Day 162. Exakta and the Single-Lens Reflex
- Day 163. Edward Henry Weston (1886–1958)
- Day 164. Monarch Migration
- Day 165. Actors
- Day 166. Being Patient
- Day 167. Influential Fashion Photographers—Present
- Day 168. Urban Legends III
- Day 169. Tulip
- Day 170. Power
- Day 171. Light Meters
- Day 172. Gelatin Dry-Plate Process
- Day 173. Julia Margaret Cameron (1815–1879)
- Day 174. Cute Baby Animals
- Day 175. Polaroid
- Day 176. Being Patient
- Day 177. Developing Theme and Concept
- Day 178. Pigeon Photographers
- Day 179. Barbie Figure Study #2
- Day 180. Family Structure
- Day 181. Filters
- Day 182. Cyanotypes
- Day 183. Robert Capa (1913–1954)
- Day 184. Lovable But Homely Babies
- Day 185. Wet Collodion
- Day 186. Off-Field Score
- Day 187. Urban Location Scouting
- Day 188. “Witch” Photography
- Day 189. Moonshimmering Waterfall and Aurora Borealis
- Day 190. Gender
- Day 191. Lens Add-Ons
- Day 192. LIFE Magazine and Photojournalism
- Day 193. Mary Ellen Mark (1940–)
- Day 194. The Macro World
- Day 195. Outtakes
- Day 196. Jubilation
- Day 197. Lights Camera. . .
- Day 198. Lost Authors
- Day 199. Shadow Bench, Shadow Path, and Dark Door
- Day 200. The First Family
- Day 201. Using Natural Light
- Day 202. Twin-Lens Camera
- Day 203. Walker Evans (1903–1975)
- Day 204. Hawk In Flight
- Day 205. Five Minutes
- Day 206. Panning for Effect
- Day 207. Collecting Props that Inspire
- Day 208. The Photographer of the Mine
- Day 209. Golden Gate PanoPlanet
- Day 210. Separation
- Day 211. Using Artificial Light
- Day 212. Instant Photography
- Day 213. Alfred Stieglitz (1864–1946)
- Day 214. Wading Birds
- Day 215. Freeze Frame
- Day 216. Capturing Action
- Day 217. The Windblown Look
- Day 218. Photographing the past
- Day 219. The Lonely Pontiac®
- Day 220. Technology
- Day 221. Subject Matter
- Day 222. The Nikon F
- Day 223. Minor Martin White (1908–1976)
- Day 224. Combining Light
- Day 225. High speed Strobe
- Day 226. Framing
- Day 227. Black and White Photography
- Day 228. Urban Legends IV
- Day 229. Under shifting Sand
- Day 230. The Female Vote
- Day 231. Framing Your Subject Matter
- Day 232. Underwater Photography
- Day 233. Willing Eggleston (1939–)
- Day 234. Water on the Rocks
- Day 235. Slow Synch Strobe
- Day 236. Negative Space
- Day 237. Fashion Apparel On Location
- Day 238. Eerie Solitude
- Day 239. Bernal Heights Wormhole
- Day 240. Providing Life’s Essentials
- Day 241. Backgrounds
- Day 242. Color Photography
- Day 243. Philippe Halsman (1906–1979)
- Day 244. Stop Action
- Day 245. Architectural
- Day 246. Up Close and Personal
- Day 247. The Seamless Background
- Day 248. Composite Portraits
- Day 249. Lightning Assault
- Day 250. Discontent
- Day 251. Using Lines
- Day 252. Collodion Process
- Day 253. Alfred Eisenstaedt (1898–1995)
- Day 254. Narrow Depth of Field
- Day 255. Landscape
- Day 256. Use of Light
- Day 257. Couture Posing and Movement
- Day 258. Photographic Collages
- Day 259. Lights of Independence
- Day 260. Street Life
- Day 261. Using Shapes and Patterns
- Day 262. Magnum and Photo Collectives
- Day 263. Howard Schatz (1940–)
- Day 264. Wide Depth of Field
- Day 265. Cityscape
- Day 266. Framing
- Day 267. Posing Two Models
- Day 268. Urban Legends V
- Day 269. Found Cups with Spoon
- Day 270. Presidential Presence
- Day 271. Using Color and Contrast
- Day 272. Flash Photography
- Day 273. Man Ray (1890–1976)
- Day 274. Man and the Natural World
- Day 275. Onstage
- Day 276. Being Patient
- Day 277. Beauty Headshot Basics
- Day 278. Scanner as Camera
- Day 279. Rose in the Rain
- Day 280. War
- Day 281. Using Perspective
- Day 282. The Instamatic Camera
- Day 283. William Wegman (1943–)
- Day 284. Winter’s Fury
- Day 285. Serendipitous
- Day 286. Capturing Action
- Day 287. Competition Quality
- Day 288. Dog Photography
- Day 289. Earth Hour—Brisbane
- Day 290. Sexual Orientation
- Day 291. Finishing Your Work
- Day 292. Stock Photography
- Day 293. Andy Goldsworthy (1956–)
- Day 294. Natural Camouflage
- Day 295. Soft Strobe Lighting
- Day 296. Jubilation
- Day 297. Retouching
- Day 298. Camera Tossing
- Day 299. Brooklyn Bridge
- Day 300. The Vote
- Day 301. What Is a Cropping Ratio?
- Day 302. Photography Museums
- Day 303. Sally Mann (1951–)
- Day 304. The Insect World
- Day 305. Eyes to the Soul
- Day 306. Perspective
- Day 307. Post-Production Effects
- Day 308. Surreal Dreamscapes
- Day 309. Waning Gibbous
- Day 310. Quality of Life
- Day 311. Papers and Printing
- Day 312. Canon EOS
- Day 313. Cindy Sherman (1954–)
- Day 314. Out My Back Door
- Day 315. Inspired
- Day 316. Using a Motor Drive
- Day 317. Collaborating
- Day 318. Infrared Photography
- Day 319. St. Joseph's Church
- Day 320. Wealth
- Day 321. Mounting
- Day 322. Adobe Photoshop®
- Day 323. Robert Frank (1924–)
- Day 324. Back Lighting
- Day 325. Painterly Lighting
- Day 326. Casting Shadows
- Day 327. Working with Water
- Day 328. Photographing the Invisible
- Day 329. For Molly
- Day 330. Child Labor
- Day 331. Matting
- Day 332. Digital Photography
- Day 333. Robert Doisneau (1912–1994)
- Day 334. No Tripod? Find an Alternative
- Day 335. Use of Perspective
- Day 336. Use of Light
- Day 337. Shooting Lingerie
- Day 338. Urban Legends VI
- Day 339. Motorway Mayhem
- Day 340. Industry
- Day 341. Framing
- Day 342. Camera Phone
- Day 343. Yousuf Karsh (1908–2002)
- Day 344. The Digital Revolution
- Day 345. Optical Illusion
- Day 346. Anticipation
- Day 347. Natural Lighting and Beauty
- Day 348. The Kaleidoscopes of Ryo Ohwada
- Day 349. Alone
- Day 350. Health Care
- Day 351. Creative Projects for Digital Photographs
- Day 352. Autofocus
- Day 353. David “Chim” Seymour (1911–1956)
- Day 354. Be Prepared
- Day 355. Spiritual
- Day 356. Peace Out
- Day 357. Your Book, Your Future
- Day 358. Remembering the Revolution
- Day 359. The Hunt
- Day 360. Community
- Day 361. For Further Study
- Day 362. Kodak Goes Digital
- Day 363. Robert Mapplethorpe (1946–1989)
- Day 364. Changing Perspective
- Day 365. Interior Location
- Sources Cited
- Bibliography
- Additional Credits
- Acknowledgments
- About the Authors
- Copyright Page
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DAY 294 | NATURE & LANDSCAPES |
Natural Camouflage
I SPY WITH MY LITTLE EYE
Nature has a way of providing security for the denizens of forests and marshes. Natural camouflage, working hand in hand with inherent instincts, equips predator and prey alike with the means to carry on their everyday lives. The goal: survival!
An example of this is a white-tailed fawn. When this most innocent of creatures is born, it is virtually helpless. Unable to even stand for a period of time, the fawn is protected by its instinct to remain motionless and its natural camouflage. The fawn’s white spots on brown fur give the newborn a chance to blend with its environment until its legs are strong enough to run.
Photo © Bill Diller.
In order to photograph a newborn fawn, you first have to see it. This one was spotted standing in a ditch near the road. I stopped the car, waited a few minutes, then slowly walked closer to the fawn. I took a few quick shots and then left. Even that close I had a hard time seeing my camouflaged subject. —WTD
TIP
Train yourself to see outlines that break up the scenery or anything that looks out of place. Have your camera ready, and then leave without disturbing the animal.
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