with Lorelle and Brent VanFossen

Merritt Island National Wildlife Refuge

Merritt Island National Wildlife Refuge
Address: P.O. Box 6504
Titusville, FL 32782

Office: (407) 861-0667

Visitor Center: (407) 861-0661

web sites:US Fish and Wildlife, Wildlife Refuges Search
University of Florida, Wading Birds of Merritt Island

EMail:r4rw_fl.mrt @mail.fws.gov

Hours: The refuge is only open during daylight hours.

Getting There: From I-95: take Exit 80 (SR 406) east through Titusville. Cross over the Indian River Lagoon. The refuge entrance sign is visible on the east side of the causeway. Continue east for 4 miles to reach the Visitor Information Center.

Best Time: Winter is the best for access, cooler temperatures, bird migration, and mating seasons. The Atlantic Hurricane Season is June-November bringing tropical storms or hurricanes which may affect your visit and the accessible areas. Excessive winter rains and occasional storms can bring flooding. Area is closed during rocket or shuttle launches.

Famous for: Spring and fall migration of songbirds and warblers; over 300 bird species; at least 15 endangered or threatened species including the southern bald eagle, Florida scrub jay, peregrine falcon, and other animals such as the West Indian manatee and loggerhead sea turtle; over 500 different types of wildlife are found on the refuge.

How to visit: The best way to explore the refuge is by car, though there are walking and hiking trails throughout the area. Begin at the visitor’s center to pick up a map and see the displays. A 6-mile self-guided auto loop called Black Point Wildlife Drive crosses the refuge and is excellent for birdwatching. The hiking trails range from.5 to 5 miles in length. From the Cruickshank Trail (stop 8 on Black Point Wildlife Drive) an observation tower and a blind are found near the parking lot. If you have boat access, you can explore the water side of the island by canoe or motor boat, though speeds are restricted for protection of the manatees.

Habitat: Of the refuge’s 140,000 acres, about 70,000 acres consist of brackish estuaries and marshes. The remaining lands consist of coastal dunes, scrub oaks, pine forests and flatwoods, and palm and oak hammocks. As a coastal area, it is in a position between subtropic and temperate zones.

Wildlife: A stop over for hundreds of migrating birds, it is also a refuge for rabbits, armadillos, and other small tropical animals. The marsh areas are home to a wide range of insects including mosquitos, dragonflies, damsel flies, and aquatic life such as frogs and fish.

Black Point Wildlife Drive is the 6 mile auto loup at Merritt Island, photo by Brent VanFosssenMerritt Island National Wildlife Refuge is a unique protected area. Its establishment was to provide a buffer zone around the launch pads of Cape Canaveral and the Kennedy Space Center in Florida. The reality is that modern technology lives side by side with some of the oldest and rarest creatures on the planet. Located on the east coast of Florida, it’s tropical climate and wide variety of habitats attract a diverse bird population making it popular for bird photographers.

Launch of the space shuttle, Cape Canaveral, Florida. Photo by Lorelle VanFossenIf you time your visit, you can not only enjoy the wonderful wintering birds, you can also catch a launch of a rocket or space shuttle. While the refuge maybe closed during a launch, there are many spots around Titusville and the waterfront to watch, including from the causeway bridge.

Thousands of shorebirds, waterfowl, and songbirds pause to feed and rest during their migration along the Atlantic Flyway. During the spring and fall, a spectacular migration of passerines invade the refuge. These include many different warblers and other songbirds. Brown pelicans, wood storks, mottled ducks, eight different species of herons and egrets, and many other waterfowl breed in the area, with huge populations during the winter months.

After you check out the interesting Visitors Center and explore the nearby trails, drive the 6-mile auto loop, Osprey sit up high so a long lens is a must. Photo by Brent VanFossenBlack Point Wildlife Drive, to check out the marsh areas and observation tower. With binoculars and/or a spotting scope you will be able to observe the wide range of species which winter here. Most of the birds will require the use of a long camera lens (400 – 600mm) and sturdy tripod, especially the hawks and Osprey which sit up high in the trees.

The marsh areas are excellent for birding, allowing the viewing of many waterfowl including Horned and Pied-billed Grebes, Mottled Duck, Blue-winged Teal, American Wigeon, Common Moorhen, American Coot, Northern ShovelerThe King Rail is a hard bird to spot among the dark marsh undergrowth. Photo by Brent VanFossen, Lesser Scaup, and the Hooded and Red-breasted Mergansers. White and Brown Pelicans, Double-crested Cormorants, Turkey and Black Vultures, Red-tailed Hawk, Osprey, Kestrel, and Northern Bobwhite are found throughout the shorelines and in the nearby trees. Among the wading and shorebirds you can find Killdeer, Black-bellied Plover, Ruddy Turnstone, Willet, Greater Yellowlegs, Lesser Yellowlegs, Least Sandpiper, Dunlin, Short-billed Dowitcher, Western Sandpiper, Sanderling, and a variety of gulls and terns.

Heron and egret are prevalent. The most common species are the Great Blue Heron, Green Heron, Little Blue Heron, Cattle Egret, Great Egret, Snowy Egret, and Tri-colored Heron. The Wood Stork, Glossy and WhiteEgrets take off from a small marsh pond, Merritt Island, photo by Brent VanFossenIbis are found here year round along with the Anhinga. Roseate Spoonbills and the Greater Flamingo are occasional visitors, found in the spring among the beach and mangrove tree shorelines, and the palm and hardwood hammocks, or in the p ine uplands. The cool weather winter months (October-April) are the best times of year for finding the birds. The best viewing is early morning and late afternoon.

Is Living on the Road Full-time Right for You?

Is full-time life on the road right for you? What kind of person can live on the road full-time and call it home? What does it take to go it alone (or with others) on the road?

Full-time life on the road is hard work. It is uncertainty. It is fear. When you take your life on the road, you are no longer bound to a familiar and stable community. You no longer belong to the church down the road, have access to familiar grocery stores or shopping malls, and post office. The little cafe you love to dine at a couple times a week – gone. Left behind. Familiar doctors, clinics, jobs, co-workers, friends, a way of life you are comfortable with are all left behind. For some this is a good thing. For others, it can be much harder.

If you are part of a family, it is even harder to leave. If you are going to take any of your family or partners on the road with you, things can get even harder to take them with you.

Before we get to determining if living on the road full-time is right for you, let’s look at some of the reasons people do live on the road.

Why Choose Life on the Road?

Expectations

The most common reason people choose to live on the road is work. Their jobs involve frequent travel or they have to travel to find work. Some of these people forego the traditional apartment rental for a recreational vehicle, their home away from home. No matter where they travel within the continent, their home goes with them. Some of these traveling workers have a home base, a residence elsewhere in the country, and visit it on weekends or when possible. Some make their home their recreational vehicle (RV) and bring their family along for the experience.

The next most common reason people choose to live on the road is family. Older parents and grandparents want to be closer to their family which is often spread across the country. They will travel to and from the different family members’ areas, living in their motor home or travel trailer, helping the family out for a while and then moving onto to the next visit. These people may or may not have a home base, but they use their RVs as traveling apartments going from place to place to spend time with family.

Many people classify “snowbirds” as full-timers, but technically they aren’t. They are more part-timers. They travel with the sun’s warmth, spending four to six months a year in one place and then heading back to the other place for the rest of the year. Many snowbirds have a permanent home near family and friends, and they use their RV to spend the winter in warmer climes awaiting the thaw in the north. These people have community in both places, traveling only between the two points with side trips. Snowbirds can make this two point journey for decades, growing old with the two different communities. Full-time travelers often don’t stay in a community long enough to become part of it.

There are those who go on the road full-time who have the goal of seeing what they never saw or missed the first time around. These people stay mobile for a year or two, going from tourist site to tourist site, or seeking the strange, unusual, or just interesting things to see out there. After a year or two, most get worn out from the effort and they tend to either return to their original home stomping grounds or they find a place that is comfortable and they make that their new home.

The rarest of the full-timers include Brent and I. We are the folks who sold everything and stored the rest with friends and family and hit the road. We don’t have a home. We have a birth place, places we love and call “home” for those interested in that concept, but we don’t have a “place to call our own”. As Brent says, “home is where Lorelle is.” Anywhere I lay my hat is home. Home is where the heart is. All the cliches are ours to use because the world is our home and where we stop, that’s the place.

Full-time travelers like Brent and I may have a permanent address and may call ourselves residents of a place in order to meet the government’s rules and regulations about residency, but we haven’t “lived” there in years. We left our concept of home behind in 1996 and have been on the road in one way or another ever since. The few others who are living on the road full-time travel from place to place where temporary work or their hearts guide them. Sometimes they spend time with friends or family along the way, other times they just open a book or magazine and decide that this is the next place on the itinerary. Some map out a whole year, others live by their whims. Their home is on their back and they just go where they feel like it, stopping where they want and spending time, and then moving on.

Full-time on the Road: What Does It Take?

Whichever kind of full-timer you are or want to be, here are some of the skills you will need in order to survive on the road full-time:

Sell Or Give Away Stuff
Before you can take your life on the road, you have to get rid of your stuff. It isn’t easy, but you have to dump all thoughts of sentimentality and emotions attached to stuff. You don’t have to get rid of all of it, but the big items have to go. This separation of yourself from your stuff is an important step to take in preparing yourself to leave it all behind, literally as well as psychologically.
Learn to Live Small
Moving into a trailer, motor home or other style of RV, you have to learn to live small. The size, weight, and shape of stuff, as well as its versatility, all comes into play on a scale you never dreamed of before. Every roll of toilet paper, every can of food, every piece of paper, they all add weight to the load the vehicle has to pull, and it all takes up SPACE, a valuable commodity in an RV. Books are the hardest thing for RVers to deal with when they hit the road. Travelers tend to love books but books take space and weight. A friend of ours has a rule. For every one book into his RV, two have to leave. It’s tough rule, and he breaks it from time to time, but it is the kind of self discipline you need to have to maintain a much minimized lifestyle on the road.
Learn To Be Alone
When you take your life on the road traveling, you do meet a lot of new people, interesting people with fascinating lives. But you also spend a lot of time alone or with your traveling partner. This can take a toll on relationships, but if you are traveling alone, it can get tiresome unless you either like being alone or you learn to enjoy being alone. Learn to read and entertain yourself. Learn to be comfortable with silence. Learn to enjoy just listening to music, and get yourself a hobby while traveling. If you are a person who has trouble being alone or have problems with silence, life on the road may be very challenging for you.
PATIENCE
I told the universe I needed to have more patience in my life. I then met my husband. I told the universe that he had taught me plenty about patience and that I was now done learning. We bought a truck and trailer and then we went on the road full-time. Okay, I told the universe. I’ve learned EVERYTHING there is to know about patience. I’m done. Finished. Stop the lessons, please. Then we took our life on the road to Israel. Universe! Aren’t you listening! I’ve learned all there is to learn about patience! Please stop! Obviously I’m not done learning. Living on the road requires more than patience. It requires a sense of calm, peace, and inner strength to not throttle the next idiot you meet who greets you with “I don’t know” or something more inane. Driving a huge truck and pulling an even bigger trailer teaches you things about patience that you can’t even imagine learning, like becoming used to waiting ten minutes for a break in traffic to pull out of a gas station, or driving round and round neighborhood cul-de-sacs because you missed the turn and you can’t back up. There are so many lessons in patience to be learned when you hit the road, start practicing on your patience skills before you even get out of the driveway. Not a patient person, don’t do this. It will kill one of us.
Trust Strangers
Leaving your family and home community behind means you have entered a new community. Looser knit, it is the community of travelers. People in trailers and motor homes always stop to help fellow RVers, even if they don’t need the help. The attitude of the traveler is “that could be me one day” and they want to help because, thank goodness, it happened to somebody else. But the day is coming, you tell yourself. You learn to trust strangers on the road, fellow travelers, campground owners and residents, gas station attendants, shop clerks, and, most frighteningly, mechanics. When it comes to the repair, care, and feeding of your home on the road, all the characteristics you need for life on the road (risk, courage, faith, trust, and patience) pop into high gear when facing a mechanic.
Curiosity
We’ve found a common thread running through the personalities of most of the people we’ve met on the road: curiosity. They are just curious folks. They want to learn more about…anything and everything. They are still child-like when it comes to visiting Disneyland or the Kennedy Space Center. They enjoy taking classes at campgrounds and traveling to new and interesting places. They are like explorers in a modern way. This curiosity keeps them young and alive, always seeking a new perspective, a new challenge, and a new friend.
Risk
If taking your life on the road full-time can’t be compared to jumping out of a plane with a potentially faulty parachute, I don’t know what could be. Traveling full-time involves risk. You risk your life driving such a huge and cumbersome vehicle through rush hour traffic. You risk your life choosing less traveled paths, not knowing exactly where you may end up. You risk finding a safe place to stay when you pull into a campground without a reservation during the high season. Shoot, you risk your life just dealing daily with your electrical, water and sewer systems. It’s a risky business living on the road and it takes someone willing to tackle risk to live on the road full-time.
Research
You have to learn how to research, be it in books, libraries, on the Internet, or otherwise, you have to learn how to study and evaluate information. You have to know how to ask the right questions. This helps in travel planning, travel preparation, learning about living on the road, and learning how to gather information if your route needs to change along the way. Taking your life on the road isn’t as easy as jumping into a vehicle and saying bye-bye to your life. You have to research residency issues, taxes, insurance plans, bill paying, mail forwarding, and so much more than you ever thought of before. Things become more complicated on the road sometimes, and you have to learn how to research your potential solutions before you get to the decision-making stage.
Make decisions
When you travel on the road full-time, you have to make decisions all the time. Which way to go, which road to turn on, which campground to choose, which campsite, which restaurant, which grocery store, which…okay, there are a lot of decisions. Some days it feels like all you do is make decisions. What ever happened to the concept of life of the road, leave all your cares behind. Gone! You have to be a decision maker when it comes to life on the road. There isn’t much in the way of support and you have to learn to take the risks when it comes to making those decisions. Once you have made all the decisions necessary for that day, then you can relax, watch the sunset, listen to the birds, frogs, and crickets, and rest until the next decision comes your way.

Is Full-Time Right for You?

We’ve given you some of the reasons why people travel full-time and some of the characteristics and skills needed for life on the road. Still interested? Then start your research and planning and welcome to the rare club of those who value life on the road.

 

Equipment Lust – Light Accessories

When we hit the road with our cameras, we plan carefully for all possibilities. We can’t anticipate everything, so we carry the following filters and accessories to enhance our “light opportunities”.

Filters

Graphic of a spinning filterFilters are popular accessories, but use them wisely and carefully. They enhance, affect and change the image we see through the lens. There is a lot of debate about the use of filters and the “reality” of images enhanced by them. Just remember to use filters like using spices in cooking. A small amount can make the dish but too much will spoil the meal.

Polarizing filter
A polarizer dramatically darkens the blue sky and removes glare and reflections. Rotating the filter adjusts polarization to prevent polarized components of light from passing through (thereby darkening the sky or removing reflections) while allowing normal light to pass. They darken the sky most when aimed at a 90 degree angle to the sun. Polarizers cut reflections, not just on water or windows, but on leaves, rocks and in rivers, and can enhance the color of bright colored subjects. By removing reflections, they increase the “purity” of light on a subject allowing the “real color” to come out.
Warming filter
When the human eye looks into the shade at an autumn leaf, it sees the warm, red colors of fall. The camera and film sees a cool blue tone. A filter can correct the image to appear as we perceived it. Effective for warming a “cool” image, a warming filter can enhance a sunset or sunrise or add warmth and color to flowers (red and orange tones). It intensifies natural colors to make them more brilliant. Warming filters come in a wide range of “warmth”. The 81B is a standard and popular warming filter.
Graduated Neutral Density
Mt. Rainier after and before using a neutral density filter. 
Photo by Brent VanFossenA graduated neutral density filter is “half” of a filter. The gray coloration on the plastic or glass is found on one half and gradually fades out to clear to the other half of the filter. This filter acts as an equalizer between a too bright sky and a too dark foreground. It is wonderful for sunsets, mountain top scenics with a dark foreground. It can be used to darken the bright sky in the background or to darken the bright rocks in the foreground by using it upside down. In addition to the graduated neutral density filter, which is gray with no color shift, graduated filters are available in several colors: Blue (for skies), Tobacco (for sunsets), Sunset colors (for sunsets) and more.

More Writing With Light

There are a few other Writing With Light we use for our nature photography, especially when working with close-up subjects such as flowers and insects.

Creative Reflectors

A reflector can be anything. With a little imagination, we have found reflectors in our hands, pieces of paper, tin foil, metalic-colored fabrics, and even sun shades for car windows. When choosing a reflector, look for “natural” colors. This may be gold or white, but don’t be afraid to experiment with pinks, purples, peaches, blues, and other colors.
A sampling of some reflectors we have found. Photo by Brent VanFossen

Diffusing Screens
Ripstop nylon works great to imitate clouds lightly diffusing the bright sunlight. 
Photo by Lorelle VanFossenA diffusion screen softens the harsh light of the bright sun and produces a cloudy day feeling. Made of a translucent material and placed between the sun and the subject, it doesn’t cast dark shadows, but simply softens and slightly cools the quality of light reaching the subject. Consider using with 81A or 81B warming filter to warm up the image. Chiffon allows a lot of light through and white ripstop nylon allows for more diffusion. Using some form of frame and prop holds the cloth away from the subject and leaves hands free to work the camera. Or have a friend hold the cloth for you.
Reflectors
A gold reflector bounces light on red flowers. 
Photo by Lorelle VanFossenLike a filter, a reflector can enhance your subject by providing more light and focusing it on your subject. It can add color, too. Reflectors can be anything from a white piece or paper to a reflective fabric. They direct the light to the subject and work like fill flash to light the side away from light source the side in shadow. They may be used with a diffusion screen to create side lighting or just to block the sun and create shade. A gold reflector adds warmth and a golden light to the subject and can make it glow. A silver reflector adds a cool white light and other colors can be used as well.
Fill Flash
Helicon Butteryfly photographed using fill flash. 
Photo by Lorelle VanFossenWhile we rarely use flash, we do use it to create fill flash. This is when the flash is used at less than full power to fill in the shadows and give a more even exposure. The newer and more expensive flashes will often have a fill flash setting to allow simple control of the flash ratio.

Equipment Lust – Buying Used Equipment

If you are looking for used equipment, consider buying a brand with the widest range of accessories and product line. Nikon is one of the oldest and most popular in the used market because most of the old-style lenses work on new camera bodies. Some features of newer bodies may not be functional with older lenses, but the lenses will still mount and work. Used EOS Canon equipment is harder to find because there is little available on the used market, though this will change as time passes. Many camera companies chose not to maintain compatibility with the older lenses when they switched to the autofocus and digital systems. This is common in a quickly changing industry like photography.

Hunting for used equipment can be like a treasure hunt. There are camera shows, used camera shops, the classifieds, yard sales, and all kinds of other places to find used equipment. We recommend sticking with a reputable seller and getting a warranty or at least a refund policy in writing if you can. Here are a few things to look for when buying used equipment.

Lenses

The lens is the most important element for creating your images. A camera body is just a housing for the film that controls the amount of light passing through the lens. If the lens is of poor quality or is scratched, damaged, or dirty, the quality of the image is effected. Carefully examine the outside and inside of a lens and check its functions.

    Graphic of an older camera

  • Look for dents on the front of the lens body. Filters may not mount, and this is a sure sign that the lens has been dropped.
  • Make sure the lens focuses smoothly throughout its entire range.
  • Make sure other controls move smoothly and freely.
  • Look for polishing and cleaning scratches on the front and rear elements of the lens. Look closely for signs of any other damage.
  • Look through the lens. Do you see any obstructions or cracks in the internal lenses? Dust? If something is inside the lens it can mean it has been repaired or damaged in some way.

Bodies

Graphic of camera with aperture opening and closingCamera bodies come in all shapes and sizes. The older ones tend to be boxy while new ones have smoother curves, LED displays, pop up flash and lots of gadgets. Have a list with you of the elements you are looking for like depth of field, remote shutter release connection, manual override and such. When you start feeling your heart palpitating over the latest hot camera body, pull out your list and ground yourself with what you really need and don’t be distracted by fad cameras. It also helps to have a list of questions for the seller so he can help you in the process of choosing a camera.

  • Look for dents on the camera body, particularly on the pentaprism, as these may cause your focusing to be off.
  • Open the back of the body and look at the shutter. There should be no damage at all to the shutter or the film plane. Look for small scratches on the film backing.
  • With the back open, set the shutter speed to about 1 second and watch as the shutter opens. It should open completely. Now try different speeds. It should operate smoothly with no jerks or hesitation at any point in the process. Some newer bodies won’t allow the shutter to operate with the back open. If this is the case, remove the lens and watch from the front.
  • Fire the shutter at shutter speeds from about 1/4 to 1/125. You should be able to hear the differences at the various settings.
  • If possible, run a roll of film through the camera using different aperture and shutter speed combinations. Take notes, use one hour processing, and check for proper results.

Hunting for Deals

Camera swap meets and used camera shops are great places for finding many of the accessories you need. Many dealers will bargin with you, or give you good deals like two for the price of one, while others will offer special discounts and prices during the meet. You will usually find typical photo accessories like filters and tripods which can be found at most photo shops, but specialized equipment is often harder to find, especially if what you need must fit an older camera system. Camera swap meets might be the best place to search for these things. Some hot items to keep an eye out for include:

Tripod Accessories
A super clamp by Bogen fits around the leg of the tripod and holds the tripod head for unusual positions. Photo by Brent VanFossenThere are a variety of tripod accessories worth keeping an eye out for at camera swap meets and used camera shops. The Bogen Super Clamp is a favorite of ours. It is literally a clamp that can tighten around your tripod leg close to the ground or at any angle, or to a fence, post, or any surface that will support a clamp. Screw your tripod head to the clamp’s mount and you are ready to photograph from even the most challenging positions. Also look for replacement tripod head screws, quick release attachments, and special tripod heads. Other unusual items to look for include tripod feet (for different surfaces such as snow or mud) and weights (which hang from the middle of the tripod to keep it steady even in fierce winds).
Bellows
Bellows fit between the camera and the lens allowing for ultra closeup photography. Photo by Brent VanFossenRemember the old box cameras? Their version of a zoom lens was an accordion style box compartment between the actual glass elements and the film. Interested in ultra-macro photography? Check to see if your camera’s manufacturer ever made a bellows attachment or lens? Then start hunting for it. A few creative inventors have found ways to build mounts for fitting bellows to the newer cameras and lenses, though they often lack all their auto features. With a good hand held meter and some patience, you can manually focus to incredible closeness with these.
Flash Accessories
In addition to a wide range of flashes for your camera, look for flash Look for synch cords and diffusion filters for your flash. Photo by Brent VanFossenaccessories such as off-shoe synch cables, diffusors, extenders (extends the range of the flash “light”), filters and other flash accessories. Also look for reflectors, light discs, strobes, box lights, and other light accessories often found in a studio. Some of these can be used in a small home studio for photographing set-up shots like aquariums, insects, butterflies, and flowers. Others maybe more portable for field work.
Cable Releases
Oftentimes camera swap meets will have special deals and sales, usually they are on small ticket items like filters. But keep an eye out for shutter cable releases. These things are frequently lost while traveling or in the field, so why not find several cheap ones and buy them. Maybe they will give you a deal for three for the price of two.
Small Parts
If you have small parts on your camera and tripod which you can lose, buy some replacements when you can. Cable releases, lens covers and backs, and step-up (or down) rings are freqently lost in our travels. But we also lose more important items like the little screw that holds important parts together on the tripod, or the Bogen handle that also serves as an allen wrench to tighten the loose screws, or the little cover pieces for the flash or cable release “holes” on the cameras. After having the entire bottom of a camera clatter to the street because I was oblivious to the screws coming loose, I started carrying replacement screws. Check your system to see what little parts you might break or lose and consider buying now rather than hunting later.
Camera Bags and Accessories
I absolutely LOVE camera bags, always the first in line to test drive one. Camera swap meets are excellent places to really get some hands-on exploration of a variety of camera bag systems, especially the bag accessories like bags for lenses, flash, film, and other accessories. Look for Domke wraps on sale as these versatile squares are excellent for protecting lenses and equipment while traveling. Look for different bags for different uses such as backpack bags to carry equipment and clothing for extensive traveling, or smaller bags for a few hours out with only one camera and lens with a couple rolls of film. Think about how you use your equipment and check out the variety of bags they offer.
New Gimmicks
Camera swap meets are excellent places for the latest and bestest whatever. Sometimes these are offered by the large manufacturers, but usually these come from innovative individuals who saw a need and decided to do something about it. From these creative folks we’ve discovered the Wimberly Tripod head featuring a free-motion, swiveling suspended tripod head, excellent for bird photography. We’ve also found tripods that bend and twist into a variety of shapes, all endeavoring to support your camera in any position possible. We’ve seen lens cleaners, lens changers, film changers, film processors, all kinds of gadgets to help make the photographer’s life a bit easier, or at least a little more complicated. Keep an eye out because you never know what gimmick might indeed make your life easier.

Equipment Lust – Pack It For Keeps

Graphic of someone carrying a huge backpack up a hillI just don’t understand it. We research and plan our camera purchase, saving up for that $800 lens and $1000 camera body, giving up eating out and other frivolous expenditures to have the perfect camera. Then we rush out to the local Our Art Wolfe camera pack on the beach in Californiadepartment store to spend $19.95 to carry it all. A camera bag is one of the most under-purchased pieces of camera equipment. Remember it is protecting your investment so pick wisely.

We’ve written an article going into depth about what makes a good camera bag, but here are some specifics to get you started.

What makes it a good one?

A good case is one that carries everything you need, is easy to carry, flexible, and protects your gear from itself and the elements. There are many brands, kinds and types. Many nature photographers prefer a backpack or fanny pack model rather than an over the shoulder bag as there is a lot of walking, hiking and sometimes climbing involved in nature photography.

Check the construction, inside and out
Make sure the stitching is solid and well done. Check out the fabric used. Will it be waterproof and protective of your gear? Make sure it is well built and has the features you require.
Take it for a test drive
Tamrac Camera BagsBring your equipment into the shop and put it all in the bag. Does everything have a place? Is it accessible for your specific needs or will you have to dig through it to get to what you need the most? Once filled with your gear, put it on. Is it comfortable? Does it fit well against your body? You may be spending a lot of time lugging this thing around so make sure you want to establish a relationship with it.

Don’t Advertise

Pick a bag that doesn’t advertise expensive equipment. The Nikon 500 f4 lens, costing about as much as a small car, comes in a heavy carrying box with metal corners and edges and tall, black letters announcing “Nikon Nikkor 500 f4 Lens” written on two sides. Put that in the closet. It only invites trouble. Find a bag which will work for you and carry everything you need. One that is too small will be annoying and one too large will get in the way and become too awkward. Fanny packs and backpacks are great. Whatever you choose, think about how you will use it, where you will take it (on the plane it must fit under the seat), and what you are going to carry in it.

Equipment Lust – Accessories Can Make the Difference

Debby Nixon concentrates on shorebirds at Dungeoness Spit, Washington State. Photo by Lorelle VanFossenSharpness is essential to professional photographs, and the serious pros realize the business of photography is about beating the competition. Professional nature photographer, John Shaw, explains, “Since we are all using the same film, the same cameras, same lenses, how can I compete? Most of us are even photographing the same subjects! How can I compete? By creating the sharpest photographs possible. That means carrying the heaviest tripod made!”

No camera can beat a good tripod

Link to Gitzo Tripods The key to a good photographic image is simple: Good composition, good subject, good technical skills, and sharpness. Sharp images come from only one thing: a totally and completely still camera. The only way to get your camera to hold still is by setting it on a solid foundation and using a timer or cable release. That means a good and stable tripod.

Make sure your tripod will go low enough to the ground and high enough to reach your eye while standing. Photo by Lorelle VanFossenTripods come in all shapes and sizes. Buying a good tripod is similar to a good camera body: how does it feel, will it do the job for you, does it work with ease, and will it grow with you? A good tripod is one that is at least twice as Duane Hansen gets down and dirty in the tulips. By inverting the center post of the tripod, the photographer can get right down on the ground for a different perspective or close-up work. 
Photo by Lorelle VanFossenheavy as the heaviest camera and lens combination you will use. It must come up to and a bit beyond your height, must have legs that adjust to all kinds of terrain and heights. Add to this a good tripod head and you have taken a huge step forward in improving the quality of your photography.

Lenses: The Eye of the Camera

Lenses control the view seen by the camera. They come in a variety of shapes, sizes, speeds, lengths and models. A lens is referred to by its focal length and its widest aperture (50mm f2.8, 500mm f4). The wider the aperture, the faster shutter speed. For nature photographers, a fast lens is more desirable as it allows the photographer to continue to work even in low light situations – which seem to be all the time. Nature photographers find their best subjects early in the morning and late in the afternoon when the light is dim. They find their subjects in dark forests, caves, shadows, and generally in low light situations. Therefore a faster lens allows them to work longer.

Graphic of a group of camera lensLenses come in three different length categories: long, short (or wide angle) and normal. Long lenses (longer than 100mm) bring far away things up close. A “normal” lens is usually a 50mm lens which is close to the view the human eye sees, so it views the world as we do. A wide angle lens (35mm and smaller) views the world with a wider angle than our eye sees.

Lenses control the perspective of what we see. Wide angle lenses view the world wider than our eye sees and can expand the distance from foreground to background. Long lenses compress the background of our subjects by narrowing the field of view. By making creative choices in lens selections, we can further control the end result by manipulation of the subject’s background and perspective.

Equipment Lust – Picking a Body

Most serious cameras offer features like complete manual control and interchangeable lenses. Four features we feel set a few camera bodies apart from the crowd are an easy to read meter, depth of field preview, mirror lock-up, a 100% viewfinder, and a cable release. These are critical tools for our photography.

Meter
Make sure your viewfinder has the information you need.
Photo by Brent VanFossen
The most useful tool in a camera is the meter, the gauge which measures the amount of light to be captured on film. The technology for meters is amazing with its delicate and controllable sensitivity. Even with all the sophistication and technology, the “gauges” are still antiquated. Some give you a green light when the exposure is “right on” and red when it is off. Some show a plus or minus, while others list comprehensive information but only on the LCD on top of the camera. The key to a good meter is knowing how far off you are from the “right” exposure. Look for a camera that allows for reading the meter while looking through the viewfinder, with registers of 1/3 or 1/2 stop increments. These will allow you to adjust your exposure to what you want. An easy to read meter helps create the image faster and allows for precise control of exposure.
Depth of Field Preview
Most cameras today allow through-the-lens (TTL) viewing with the aperture at the widest setting. This gives a bright viewfinder image and a narrow depth of field that makes focusing easier. At the instant of exposure, the lens closes to the selected aperture and the resulting increased depth of field. If you want to see what will be sharp in the final image, you need a depth of field preview control. Only the more expensive cameras seem to have this once common control. It allows you to see and remove distracting elements before you make the final image. We find it invaluable for macro photography.
Mirror lock-up
Camera vibration is the enemy of sharp pictures. Using a tripod will make an enormous difference in the quality of your photographs, but it still won’t prevent the interval vibrations caused by the movement of the mirror at the moment of exposure. These vibrations are the worst with lenses longer than 300mm and shutter speeds between 1/30th and 1/4th of a second. The solution is to manually lock the mirror out of the way before firing the shutter with a cable release. Vibrations are minimized and sharper images will result.
100% viewfinder
Most SLR cameras on the market only show the photographer “most” of the image, not all. There is a small border around the edge of the viewfinder that is not visible, but appears on the film. Because 100% viewfinders are expensive, heavy, and technically difficult to manufacture, most cameras don’t offer them. Without the 100% coverage, we find tree limbs, small pieces of grass, or dark corners in the final photographs, even if we carefully avoided these. The 100% viewfinder is a compositional tool essential for precise control over the final image.
Shutter Release Cable
Graphic of a camera with a shutter release cableCheck the camera body for a connection to a remote control shutter release. Some new cameras don’t allow for them and others use infrared wireless controls. These infrared devices require line-of-sight use, so you have to hold them in front of the camera to Photographer Deborah Kirshner uses a cable release to capture her images. Photo by Lorelle VanFossensignal it to take the photograph. What kind of cable does it take? Is it easy to use? Long enough for you to stand back from the camera a bit? To maximize your potential for sharp photographs using a tripod with a cable release is critical.

The Manual

graphic of a camera on a slice of filmWe can never say this too many times: WHERE IS YOUR MANUAL?

Time and again we consult the manuals for our cameras. We never leave home without them. With the new-fangled auto/computer everything cameras, it is a requirement. We are often out in the field with a new creative concept and can’t remember how to do it. Having the manual with us, keeps us on track. When you are sitting and waiting for a ferry or the plane, or even for the moose to come strolling by, take it out and read it. You will learn all kinds of things you forgot you knew about your camera’s capabilities.

Equipment Lust – User Friendly Camera

Basic Elements in Good Equipment

Graphic of photo equipment collageWhen shopping for a car you don’t always buy just for looks. You get in and test drive it. How does it handle? How do you feel behind the wheel? You get out and kick the tires, lift up the hood, check the trunk and storage areas. You read Consumer Reports. You even take it to a mechanic for an inspection. You want to know how it “feels” around you. How a camera feels and works with you is no different from buying a car. You will probably use it under stress-filled conditions like vacation or holidays. The last thing you need in a camera is one that you have to struggle with.

EOS Camera EquipmentNo matter what equipment you are considering, treat it like buying a car or house. Here are a few things to consider.

Photo Ability
While disabilities are rarely addressed in nature photography, many photographers have them. Arthritis, carpal tunnel, only one arm, missing fingers – consider your physical limitations when purchasing camera equipment, especially a camera body. Can you reach the buttons? Is it comfortable to use? Will it cause more stress or strain or even pain? Even if you are without physical challenges, make sure it fits your hand and feels good to use.
What do you need it to do?
What are your photographic interests? Landscapes, macro, wildlife? Pick equipment that enhances your abilities. Macro and close-up photography? Pick a camera with mirror lock-up and a shutter release remote connection. Choose lenses with a good grip on the manual focusing ring. Wildlife photography? Make sure the camera has action in mind with meters and indicators through the viewfinder and lenses with large apertures. Working from the car or hiking the mountains? Equipment weight may come into consideration. Think about what you photograph and make sure the equipment will help you do the job better.
How does it feel?
Back of EOS camera bodyWe spend hours with the camera in our hands and glued to our faces. How the camera feels is important. Are the buttons reachable? How about when your eye is up against the viewfinder? Is it comfortable or hard to see through? Buttons on the backs of cameras can get in the way as our faces interfere with our fingers. Do you have to keep moving your eye from the viewfinder to see indicators and buttons on top of the camera? Is the lens easy to grip? Really think about how you use your equipment and how it feels as you work with it.
What does it do?
Cameras come in all shapes and sizes and many have more gizmos on them then you can count. What do they all do? Which ones are critical to you and can you get to them easily? On a camera we used to have, you’d push a button on the left side of the lens and turn the dial on the right to control the aperture. Turn the dial alone to control the shutter. This means using that camera with two hands. Are all the knobs and buttons easy to use and accessible? Do they work together or feel awkward? If you will spend your time hunting for buttons in the field, don’t bother. Really look closely at how the camera and lenses work together, and how what combination of buttons does what.

Get Your Hands on It

Check how all the buttons and dials work. Are they all on top or some on the back? Practice using it. Can you reach all the buttons?Once you have established the purpose of the piece you are buying, it’s time to get down to the touchy-feely process. Whether you are buying mail order or from a local camera store, either borrow or rent the equipment or check it out before you invest your money. Get your hands on it. Really play with it and poke at all the buttons. Looking at what you want in a magazine is all fine, even researching it with Popular Photography, Shutterbug, and Consumer Reports is excellent to do. But unless you get it in your hands, you will never know if this is the RIGHT partner for you in your photographic endeavors.

Can I upgrade?
We’ve become accustomed to upgrading our computer software and hardware, so why not a camera? Make sure the camera will grow with you instead of you outgrowing it. Can you add a computer hookup? Graphic of a digital camera and computer diskWill it take manual AND autofocus lenses? Can you buy a variety of lenses or are the lens choices limited? Always look to future potential and possibilities.

With the camera in your hands, put it through the paces. Does everything work as you anticipated? Does it feel good in your hand? What about accessories? Remember you aren’t just buying a camera, you are investing in a system. What are all the accessories that work with the camera? Which ones will you need? And how do other accessories like tripod work? Are they easy to open and set up? Will you spend more time fussing than photographing?

Part of the “feel” of a camera includes putting film in the camera and changing lenses and attaching gizmos to it. Make sure each process is easy and accessible for you. We run through a lot of batteries, so easy access to the battery compartment is important. Does it open easily or do you need to have a coin or special tool? How much fuss is it? We used to have a camera where you had to remove the right hand grip and unscrew a “knob” for 14 twists (we counted) before the battery compartment opened up. Is the lens easy to get on and off? Does it feel good to move all the parts? Whichever piece of equipment you are buying, make sure the motion and access to the workings of the system are easy and quick to use.

Equipment Lust: The Hunt for the Ideal Camera

Animated graphic of a painter splashing paint on a canvas.The tools of a painter consist of paints, canvas and brushes. With paints there are thousands of colors and types to choose from: watercolor, oil, pastels, and more. Brushes are similar: nylon, horsehair, and a variety of natural fibers and synthetics, not to mention shapes and sizes. Canvases? Some like smooth surfaces, some rough, some fabric, some paper. Lots of choices. Painting is a subjective art and often taps the very soul of the viewer, so when was the last time you met a painter and asked them which brush they used?

Not a week goes by that we don’t get such an inquiry. “What kind of camera should I buy?” “I have Blank brand camera and need some lenses; what should I get?” “Should I go with a digital camera or traditional camera?” We crave discussing the hows and whys of an image, the intricate concentration and artistry to create the photograph, the use of light and shadow, the emotional connection between the subject, its environment and the viewer. But people firmly believe that the camera MAKES the picture.

The why of this is best saved for a more philosophical time. The reality is that the camera is simply a tool. It is up to the photographer to create the photograph using the best tools for the job. Let’s take a good look at the tools that help the process of nature and outdoor photography. Oh, next time you see us, ask us about the artistic nature of our work instead. We’ll have a much better chat.

It isn’t the idiot camera that makes the pictures.
It’s the idiot behind the camera that makes the pictures.
Lorelle VanFossen, from a day-in-the-life of a nature photographer instructor

Equipment Lust

Photographers and bird watchers line up at the Venice Rookery, Florida, photo by Brent VanFossenPhotography is one of those hobbies where the participants have to have the latest and best. It’s as bad as car collectors. A friend of ours has 17 cameras and numerous lenses to match each one. Another friend MUST have the latest and most expensive, but barely knows how to use it. Equipment lust can get out of control and often requires long discussions with your financial advisor. The reality is that whatever you have is often “good enough”.

A camera purchased new today is a state-of-the-art computer, not just a glorified picture taker. The technical aspect of taking a photograph is the easiest thing the camera does. Today much of the problem solving of exposure is taken care of with sophisticated computer engineering. Even with all this advanced technology, with built-in flash, autofocus, motor controlled lenses and other whiz bang gimmicks, the process of taking a picture hasn’t changed much over the years.

Use What You Have

Mountaineering photographer and instructor, Ted Case, hauls his gear up the face of mountains and over rocky ledges. He can’t carry with him a vast selection of lenses. A few years ago, he decided to begin self assignments to further advance his artistic skill. “I decided to spend a day in the field with one camera and one lens. No other choices. If I couldn’t learn how this lens saw and worked, it served no useful purpose for me.” He spent a day with a 50mm lens. With a persepctive close to that of the human eye, Ted concentrated on capturing images as “he” saw them through each lens. He worked the “wide angle” aspects of the lens for scenics. Then close-up work – how close would it focus? Ted put all his different lenses through the same paces. “Suddenly these old lenses became new friends again,” he admits in his workshops. “I gained a new respect for each and a better understanding of their perspective.”

Before getting your credit card out for the hottest gimmick, take a look at what you have. Learn to thoroughly use what you have in a variety of situations. Push it to focus at its closest and farthest. Learn to see how it sees. Why can’t a 400mm lens be used as a close-up lens? Why not create scenics with it? Will it do that? How about your 17-35mm wide angle zoom as a macro lens for close up photography? Will it work? You might find you have a new respect for an old friend and gain more artistry in your photography.

Loxahatchee National Wildlife Refuge

Arthur R. Marshall Loxahatchee National Wildlife Refuge
10216 Lee Rd.
Boynton Beach, FL 33437-4796

Phone: 561-732-3684
Fax: 561-369-7190

Email: loxahatchee_r4rw @fws.gov

Web Page: FWS Loxahatchee National Wildlife Refuge

How to get there: The refuge is located near Lake Worth, Florida, west of Boynton Beach on Lee Road, just west of US 441. From 1-95, west on US-98, south on US-441 for 14 miles to refuge entrance on right. Or, from 1-95, FL-806 west, US-441 north for 2 miles to refuge entrance on left. Cypress Swamp and the Visitors Center are located north of the Headquarters area entrance road.

Hours: The refuge is open every day from sunrise to sunset. The Visitor Center is open daily from 9 am to 4 p.m between mid-October and mid-April, and closed Mondays and Tuesdays for the rest of the year.

Best Time: Bird viewing is best Fall through Spring.

Famous for: Representing the most northern part of the Everglades habitant, Loxahatchee is home to the American alligator and the endangered Everglades snail kite. In any given year, as many as 257 species of birds may visit the refuge.

How to visit: Begin with a visit to the Visitor Center. The natural history displays help you understand the importance of the park. Walk the half mile Cypress Swamp board walk for an up-close view of the wetlands and wildlife. A 12 mile bicycle trail runs along the L-40 levee (main levee) between the Headquarters and Hillsboro Areas. There are walking trails, a canoe trail, bike trail, a butterfly garden, and observation towers to explore. The wildlife is accustomed to people.

Habitat: Four hundred of the 147,392 acres feature cypress swampland, the largest remaining remnant of a cypress strand that once separated the pine flatwoods in the east from the Everglades marshes. Lichens thrive in the swamp environment. Baton rouge lichen, French for “red stick,” is one of the most popular. The giant leather fern, the largest North American fern, is found here and can grow as tall as 14 feet. Wax myrtle, coastal plain willow, pickerelweed, buttonbush, pond apple, and primrose willow trees grow throughout the refuge.

Wildlife: Birds are the primary attraction for Loxahatchee. In the swamp areas you will find herons, egrets, ibises, moorhens, coots, and limpkins. Less easily spotted birds are the purple gallinules, least bitterns, sora rails, and even an occasional roseate spoonbill or sandhill crane. Other birds found throughout the refuge include Carolina wrens, common yellowthroats, cardinals, red-bellied and pileated woodpeckers. Less common birds can be spotted including the yellow-billed cuckoo, common flicker, yellow-bellied sapsucker, screech owl, and great horned owl. During the spring and fall migration, warblers, vireos, and other species can also be spotted. Two endangered species, the snail kites and wood storks, are found here. Look and listen closely for pig frogs and cricket frogs, as well as the Florida red-bellied turtle and soft-shelled turtles. There are anoles, fish, snakes, raccoons, river otters, and bobcats. Alligators may be seen almost anywhere on the refuge, though most often sighted near the boat ramp, in the ponds in front of the Cypress Swamp by the Visitor Center, and in the impoundments of Compartment C.

Tuesday, February 18, 1997
Loxahatchee NWR, FL

Bromeliad, photo by Brent VanFossenAt first light, I was at the refuge, which is just west and a bit south of Lake Worth, Florida, or just a bit east of Lake Okeechobee. This refuge is for those who don’t mind walking, as the roadway is less than a mile long, and goes three places: the visitor center with its Cypress Swamp boardwalk, the Marsh Trail parking, and the boat launch.

The Cypress Swamp Boardwalk behind the visitor center is a whole different world. Almost half a mile in length, this is a short loop through part of what remains of the huge swamp that used to separate the east coast of Florida from the Everglade grassland interior. Most of the old-growth cypress trees, here included, were logged early this century, and Baton Rouge Lichens, photo by Brent VanFossenwhat is here is second growth. Nonetheless, the trees are everywhere, and bromeliads (airplants) abound. Every tree supports at least a dozen of the various airplants, including the Stiff-leaved Wild-pine, Reflexed Wild-pine, and lots of Spanish Moss. Crimson and pink Baton Rouge lichens color the trunks of many of the cypress trees. The giant Leather Fern is here, with fronds that can grow up to 16 feet long. Interestingly, the fern got its name because the spores completely cover the underside of some of the leaves, giving them the look and feel of brown suede leather.

The drumming sound of a Pileated Woodpecker echoed through the swamp, and I finally spotted him high in a cypress snag. I had been told by Kevin Karlson at the Everglades that there was a pair excavating a nest cavity just behind the visitor center, but I never located it.

The Marsh Trail is a grid pattern of ponds which are managed to provide just the right amount of water and plants for the various bird and animal life. There are three main north/south routes and four or five east/west dikes, and all can be hiked. Common here were White and Glossy Ibis, and most of the herons. I saw a pair of Mottled Ducks, a Northern Harrier, many American Coots, Common Moorhens, and Purple Gallinules, although most of the gallinules appeared to be immatures with mottled coloring on their heads. There were at least four American Alligators on the banks along the walk. I was unable to find the American Bittern that Kevin said he saw each day.

Behind the Administration building, I found four Loggerhead Shrikes, as Kevin had told me. As the sky was a dull white, I didn’t attempt any pictures for want of a better background. I found a pair of Red-bellied Woodpeckers in the trees there, as well.

Back at the boardwalk, I found eight 2-foot alligators on the green bank across a small pond in front of the visitor center. I was able to shoot a nice grouping with the 500 and 700mm lens, and I used a little Project-A-Flash at -1.7 stops for catch light in their eyes. A woman next to me noticed a tiny (2 inch) alligator head in the water not 10 feet from me. I added an extension tube, and moved as close as I could focus to photograph him. As the light was very low, I used flash.

The light today was very dim, the wind strong, and the little rain was cold and discouraging. Even so, I’d rather be out in the weather than back at a job. And while I wasn’t able to shoot a lot of the things today that I saw, there is still tomorrow, and I will be back at first light (the gate opens at 6:00am) to try again.

Thursday, February 20, 1997
Loxahatchee NWR, FL

This morning was beautiful, the light golden, the sky blue with puffy white clouds. The winds were calm, and I made photographs of a Little Blue Heron fishing in the blue water with a perfect reflection below him. I made Pied-billed Grebe, photo by Brent VanFossensimilar pictures of American Coots, Common Moorhens, and Pied-billed Grebes swimming in the green reflections of the trees on the far banks. I shot a Purple Gallinule in good light in the grasses. And I got some shots of the Loggerhead Shrikes over by the Administration building. Northern Rough-winged Swallows were on the power wire.

When the light got too bright, I disappeared into the Cypress Swamp and made photos of the trees, scenics, and habitat shots of the swamp. I had to time the photos when the sun would drop behind a thin cloud so the shadows would not be so harsh. I made a few looking straight up through the cypress trees with all their airplants, and then the cable release latched. At 6 frames a second, film goes fast. I think I have about a dozen identical photos looking up in the swamp before I could shut the camera off. I hope they’re good.

In the swamp, I saw several snakes. One, a Florida water snake, banded variety was curled up at the base of a bush growing out of the water. Another was a brown water snake. I found a turtle with its Glossy Ibis, photo by Brent VanFossenyellow and green head sticking up. I watched anoles for quite some time as they ran and chased around the trees and the ferns. Several would display their bright red dewlaps, the colored skin flap which is normally hidden under their throats. The dewlap doesn’t fill with air like a frog’s throat, but a bony or cartilage plate pivots down and forward, stretching the red skin with it to show off the color to attract a mate.

Evening light was good, although not as good as morning because of all the clouds. I photographed a Glossy Ibis in good light. And I found and photographed a female alligator with her mouth open facing into the sun. At sunset, I watched about a 100 White Ibis fly off into the color. I photographed the oranges and the blues on the water with the grasses and reeds in patterns.

If It’s Going to Break Down, It Will Invariably Happen in a Small Town On a Saturday Night

Graphic of working on car in snowIt never fails. In fact, you can count on it. If it’s going to break down it will invariably happen in a small town on a Saturday night. Every time. The corollary is that it the greater the hurry you are in, the longer it will take to get the parts.

Shredded tire from our trailer, photo by Lorelle VanFossenWe’ve traveled 60,000 miles since December of 1996 and this is the story of our life. You know all those curls of tread alongside the highways? Well, we’ve donated to the cause. Leaving the beautiful Buffalo National River in Arkansas, only two hours from Tulsa, Oklahoma, we were anxious to see family after five months on the road. Hearing a train noise, Lorelle looked in the side mirror to find our 30 foot fifth wheel trailer driving on three wheels. The fourth one was banging along the highway, absent of tread. We were already using our spare, and the tire it replaced hadn’t Brent repairs the shredded trailer tirebeen fixed yet. Of course it was 4:00 PM on a Saturday. We put on the leaky tire, filled it with air and limped to a Wal-Mart for tire plugs. Even with a plug, the leak continued and we stopped every few miles to add more air. We arrived in Tulsa six hours later.

Driving the Alaska Highway, we over-prepared and planned for just about any contingency. Almost to the Alaska, we started to relax. Big mistake. We arrived in Whitehorse, Yukon, on a Saturday afternoon. Sure enough, the truck started making weird noises and losing power. We informed the campground hosts that we were there for the weekend and not just the night as planned. Eight o’clock on Monday morning found us at a service station with a burned up transmission.

graphic of a car liftArkansas, Alaska, and even in South and North Carolina the rule holds true. In South Carolina the front leg gears on the trailer gave out on a Friday night as we were trying to leave. We thought our luck had changed until the repair shop informed us it would be six days before the parts would arrive. The part arrived on Thursday and was installed on Friday with plans to leave early Saturday morning. Friday night brought grinding noises from the back wheels of the truck. Instead of traveling to the next state or exploring the famous Saturday markets and old downtown Charleston, we spent nine hours waiting for rear brake repairs. Two weeks later, on Friday afternoon in Greensboro, North Carolina, Brent came rushing into the trailer announcing a favorite folk singer of ours, Christine Lavin, was performing in Winston-Salem. On route, the truck overheated. Two hours later, after taping up a hard-to-reach water hose, we gave up and returned home. This time we spent another Saturday in graphic of a truck under repairanother repair shop for six hours replacing water hoses and a water pump. A week later we were back in the same shop on a Saturday fixing the hole they put in the radiator.

The stories go on and on. The truth is, if it is Saturday afternoon and you want to be somewhere, the odds are against you. So what can you do?

Never do anything when you are in a temper,
For you will do everything wrong.
Baltasar Gracian

Planning for a Breakdown

Brent inspects the oil and water in the truck engine, by Lorelle VanFossenThere are no right or wrong ways to handle an emergency or breakdown. Getting upset and yelling at your family, though, makes the experience more unpleasant and doesn’t change a thing. When you break down, everyone with you is as disappointed, frustrated and angry as you are. How you respond to the situation impacts their response. Take a moment to catch your breath and make the best out of a bad situation.

Part of making a plan for breakdowns is to be prepared. What do you need in case of an emergency and what should you bring with you? Think of how everyone can pitch in to help. By preparing ahead of time, everyone knows what to do and the stress level drops. Here are a few tips:

Spares and Backups
Carry spare tires, batteries, fan belts, light bulbs. If it can break, bring extras. We must have 5 flashlights. At any one time, only one will work and that is the one we can’t find. Extra batteries are always in need for the dead flashlights we do find. Have some kind of backup system. We have a generator for power outages. We carry bicycles for enjoyment and emergency transportation. We carry extra radiator hoses, clamps, battery cables, fan belts, light bulbs, and all kinds of things frequently replaced. Think of all the parts you may need, especially the hard to find items, and make sure you are well stocked up.
Carry Tools and Repair Supplies
Duct tape, electrician’s tape, hammers, and screwdrivers; bring all the tools and devices that will help you to either fix it yourself or at least hold it together until you can get help. Duct tape has rescued many a traveler. Nothing is more fun that tearing a hole in your trailer siding. In that case, duct tape held us together until we could get it repaired.
Assign Responsibilities
Since you know trouble happens, make plans. Who will walk for help? Who will stay behind? Who will put out the flares or warning signs? Who will direct traffic? If you understand how you work together, each person will have their task and be calmer. When everyone has something to do, all feel involved and a part of the solution, calming tempers and smoothing feathers.
Make Patience an Art
graphic of a car being repairedBe willing to wait. You don’t have much choice. We’ve spent hours in the dull waiting rooms of service stations, tire stores and repair facilities. When they are close to a mall or movie theater, we walk around or see a movie. Otherwise, we always carry books and magazines to read, or bring our laptop to get work done.
Make It Fun
Knowing that trouble happens and having a plan, find something to make the experience enjoyable. Getting stuck in a freak snowstorm in Denver, the truck was buried under four to six foot snow drifts. When the storm cleared, we played in the snow and built a giant snow sculpture, attracting neighbors up and down the street. Stuck in Whitehorse, we road our bikes through town and found the library, spending the afternoon reading and researching on their free Internet connection.
Carry Extra Funds
If you can find a willing repair shop on a Saturday or Sunday, odds are they want cash. Be ready with traveler’s checks or cash, enough to get you out of trouble. Tow truck drivers, unless you have a good insurance program, will only take cash. You never know when you will find yourself in a ditch.
Check In
If you are stuck somewhere and people are waiting on you or if you can’t keep your campground reservation, let them know. Caught up in the drama of the trauma, you may forget you have a responsibility to not let them worry about you.
Everyone Wants to Help
Sometimes it seems like your breakdown is the most exciting thing “to happen around here in ages.” Everyone gathers to watch. You may be grateful for their help, but too many helpers can slow down the job and raise tempers. Thank them and be kind, no matter how much you want to swing a tire jack at them. If you are a watcher, stand back and only give advice when requested.

Trust

Graphic of a help signAt some point, you have to trust people. Most people are more than willing to help. On the Alaska Highway during another breakdown, help arrived before we even slowed to a stop in the form of a young man on his way to a military station. Brent went with him to the nearest town 20 miles away and Lorelle took the opportunity to get some work done in the trailer. After numerous people stopped to offer help, Lorelle finally put a sign in the window that said, “Don’t stop! Thanks, we have help!” It didn’t stop them from stopping out of concern and eagerness to help, but it made her feel better.

People who travel the highways and byways often think the same thing when they see someone in trouble: “That could be me.” We’ve experienced and witnessed incredible acts of kindness and courage to save a stranger on the road. Remember that life on the road can be the best of times and the worst of times. How you handle the problems can make the difference in how successful and relaxed your adventure is.

 

Wakodahatchee Wetlands, Florida

Wakodahatchee, Florida

Office: PBC Water Utilities Department
2065 Prairie Road
West Palm Beach, FL 33406

Phone: (561) 641-3429

Fax: (561) 641-3472

web sites:

Bird lists: Wakodahatchee Bird List

Hours: It is open everyday from dawn till dusk, seven days a week, no charge. One hour tours are available, booked in advanced. Call (561) 641-3429. Community organizations and school groups may request tours scheduled at least one month in advance by calling (561) 434-5372.

Getting There: Three miles East of the renowned Loxahatchee National Wildlife Refuge, Wakodahatchee Wetlands is located in suburban Delray Beach on the east side of Jog Road between Woolbright Road and Atlantic Avenue. Exit Route 95 onto Atlantic Avenue West; continue to Jog Road; turn right; park is on the right, on the southeast side of Palm Beach County Water Utility Department’s Southern Region Operations Center at 13026 Jog Road, Delray Beach.

Best Time: Year round photo opportunities. Spring and summer offers nesting Least Bittern, Green Heron, Common Moorhen, Red-winged Blackbird, Pied-billed Grebe, Tri-colored Heron, Great Blue Heron, Black-necked Stilt, Boat-tailed Grackle and more. Fall and spring migration brings Roseate Spoonbill, Wood Storks, Wrens, Warblers, Shrikes, and more. Winter is the best for access, cooler temperatures, bird migration, and mating seasons. Hawks, eagles, ducks, kingfishers, and shorebirds are common during the winter. Excessive winter rains and occasional storms can bring flooding.

Famous for: Wakodahatchee has become a hot bird photography spot due to the easy access to the birds accustomed to humans. The Least Bittern, a secretive bird, is found commonly during the spring and summer as they nest in the wetlands from May through August. A three-quarter mile elevated boardwalk winds through three of the eight ponds at this uniquely constructed wetland built in 1996 by the Palm Beach County Water Utilities Department as a water reclamation facility. The wetlands offer refuge and home for birds, snakes, fish, turtles, alligators, and more. The diverse water ponds offer a variety of water areas for a wide range of wildlife, fowl, birds, and plant life.

How to visit: Dusk is a great time for bird returning to the wetlands for the night. Cooler temperatures wake up alligators and other animals and birds on the prowl. Dawn is another active time for feeding and capturing the birds before they leave for the day. Walk the boardwalk repeatedly as things change as the day progresses. Work from a tripod at eye level for a wider perspective, and get low, even lying on the boardwalk, for an eye level view. The boardwalk rail can also be used to prop up the lens. The boardwalk is narrow in many places. Walkers and joggers shake the boardwalk so have patience and wait until they pass. If your timing is right, take a tour of the wetland to get a better feel for the area and habitat. NOTE: There are no restrooms, so come prepared.

Habitat: The 50 acre created wetland area consists of 39 acres of wetland and 11 acres of upland. The area serves as a constructed water treatment facility, using natural environments to filter the water. The treatment areas are called treatment cells which range in size from 2.3 to 10.9 acres. Each of the eight treatment cells are modified to support a variety of vegetation types including aquatic, emergent, transitional and upland plants. The different habitat zones include deep, open water areas, habitat islands, emergent marshes and upland berm areas.

Wildlife: About 120 different bird species visit the wetlands. Twelve of these are considered threatened or endangered. At least nine species nest on the site. Egrets, herons, gallinules, anhinga, ibis, limpkin, duck, teal, moorhen, coot, and others make the wetlands home. Occasional visitors include Brown and White Pelicans, Osprey, Roseate Spoonbill, Wood Stork, Bald Eagle, Virginia Rail, and Least Tern. You will also find alligators, and other reptiles and mammals, as well as a wide variety of insect life.

Equipment: Long lenses (500 or 600mm) are best for full frame closeups of most of the birds and wildlife, though 300mm lenses are also useful. Wide angle lenses offer habitat perspectives, though care must be taken to watch for posts, buildings, signs, and other distractions. Working in the low light situations of early morning and dusk, a tripod is a must. Consider bringing a bean bag for working from the boardwalk railing and to support the camera while lying on the boardwalk. A flash with a flash extension is also good for eye catchlights and working with low light levels.

NOTE:Take care with your stance and tripods to not block the boardwalk. Due to recent confrontations between walkers, joggers, groups, and nature photographers who visit the wetlands en masse, keep a low profile and avoid confrontation.

The quiet of evening is broken by the rush of wings as a cloud of Ibis, Herons and Grackles by the thousands fill the sky. Wood Storks join them, awkward on land but a thing of grace in the air. Below, among the confetti-like duckweed, purple tasseled pickerel weed, and clusters of bulrush and cord grass, Purple Gallinules and Wood storks fish the shallow waters of the wetlands, photo by Brent VanFossen Least Bitterns dip and bow their heads in their search for food. Red-winged Blackbirds twitter as they flit between the reeds and cattails. When morning comes, small Green Herons blend in with the green grasses as they slowly stalk their fishy prey. Tall Great Blue and Tri-colored Herons are statues among the lilies and green water. An alligator swims by, its unique silhouette cutting a gentle ripple across the water.

The water treatment plant is present in the background of the wetlands, photo by Brent VanFossen You are not in the wilds of the Everglades or even the tropics of South America. You are in a created wetland and upland habitat area aptly named Wakodahatchee or “created waters” in Seminole Indian language. Located in the central east side of Florida, near Lake Worth in Palm County, and Loxahatchee National Wildlife Refuge, about 45 minutes northwest of Ft. Lauderdale, this unique man-made wetlands services as a haven for native and visiting wildlife and birds, and serves the nearby community as a natural filter marsh turning the local bad water into irrigation water for agricultural lands.

Pickerellweed is found throughout the wetland, photo by Brent VanFossen The area was once overrun with invasive non-native vegetation such as the Brazilian pepper, Australian pine, melaleuca and cattails thriving amid the natural percolation ponds, draining and clogging the ponds with their unresisted growth. Using innovative and experimental designs, the Wakodahatchee Wetland Project now consists of 50 acres of converted percolation ponds with eight treatment cells comprising 39 acres of wetland area and 11 acres of upland berms which surround and separate the treatment cells. The individual treatment cells range in size from 2.3 to 10.9 acres. Each cell was designed to support a variety of vegetation types including aquatic, emergent, transitional and upland plants. Therefore, several habitat zones were created including deep water, open water areas, habitat islands, emergent marshes and upland berm areas. The “dirty water” is processed through these natural looking treatment cells which filter and clean the water. The benefit to wildlife is a new home and food source.

Softstem bulrush are found throughout the shallow wetlands, photo by Brent VanFossen Noticing the wetlands built in 1996, birds arrived by the tens of thousands, in all colors, shapes, and sizes. The wetlands and its supervisors, the Palm County Water Utilities, work hard to maintain a balance between the native plants and wildlife. Many birds consume the new plant growth faster than it can replenish. With such an abundance of birds, competition for food is intense. Alligators have begun nesting, resulting in about 60 new hatchlings each year, many of which are consumed before they can reach a defensive size. They are slowly increasing their population rate. Marsh hares, turtles, raccoons, river otters, snakes, and frogs have made a home here, too.

You can get close enough to photograph the feet of coot, photo by Brent Vanfossen Threaded throughout the different treatment cells is a one-mile boardwalk, sometimes floating on the water and other times piered up above. The birds wander through the cells, appropriate to their food and nesting interests, ignoring the many humans sauntering along the boardwalk. Bird and nature photographers quickly flocked to the area, eager for the easy-to-access bird portraits. Local joggers and walkers also quickly found the area as a change to their street routes. Unfortunately, the two groups have clashed heads more than once as they compete for space on the boardwalk and quiet. Photographers have to fight the thundering vibration of the boardwalk as the joggers pound by, and the joggers have to maneuver through tripods and camera gear laden photographers. The concerns of both parties have reached the local news, causing debate within the community about whose right is more right than the other. Since the birds appear to be unaffected either way, their views on the matter are not considered.

We do need to take care to not disturb the wildlife or the local human residents, especially as nature photographers, since our equipment and tools of our trade tend to be seen as intrusive. Take care to keep your equipment close to you so it doesn’t block the boardwalk. Use a tripod, but keep it out of the pathway. Many photographers enjoy lying on the boardwalk for an eye-to-eye perspective with the birds, but do choose positions that don’t interfere with traffic or put others at risk.

A boardwalk runs through the wetlands allowing easy viewing of the wildlife and plants, photo by Brent VanFossenEach treatment cell offers a variety of plant life in addition to the birds and animals. In the deep water areas you are more likely to find lots of coots and ducks. Among the open water areas, you will find water fowl and diving birds. The habitat islands and emergent marshes are excellent locations for finding nests of rails, moorhens, and sparrows, as well as warblers or even least bitterns. Shallow shelves are good for herons and egrets. Islands with shrubs and snags to serve as nesting, roosting and basking sites . The upland berm areas offer forested areas good for some small mammals, too.

The elusive sora can often be found hidden in the bulrushes, photo by Brent VanFossenAlong the railings of the boardwalk you will often catch herons roosting. Soras and limpkins are often found nesting 20 feet from the boardwalk, and the wetlands are a very popular place for viewing Least Bitterns on a frequent basis. These birds are normally very secretive and difficult to find. They are most abundant during the spring and summer. From May to August, there are good opportunities for close photography of the Least Bitterns nesting with their babies.

Boat-tailed grackles do their mating rituals at Wakodahatchee, photo by Brent VanFossen As the boardwalk is so short, make numerous trips around during various times of the day to catch the different birds and wildlife. Early mornings and late afternoons are prime times for photography because of the attractive light and the activity of the birds and wildlife. There are observation areas which are shaded along the way to rest out of the sun.

As you explore the area, you may stumble upon Bernie Krzywada. He is responsible for maintaining the 50 acres of wetlands surrounding the boardwalk and has been with the Water Utilities Department for more than 16 years. He might be cleaning or doing repair, or watching the birds and animals himself. He is an expert on the area and usually glad to answer any questions or point out any wildlife worth seeing. Interpretive signs along the boardwalk will also help you understand more about how the wetlands work as a water treatment filtration system and about the different habitats.

A little blue heron waits for dinner in the shallows, photo by Brent VanFossen Bring lots of film and moderate to long lenses with a solid tripod. Long lenses like 400 to 600mm will often allow closeup portraits of the birds, but moderately long lenses will also allow capturing the full subject fairly up close. In the more wooded areas, you will have low light conditions, especially in the early and late hours, so a lens with a wide aperture is best then. A flash is good for some fill and helping provide a catchlight. During the day, the open water areas are also good for reflections and photographing examples of the flora.

Bring sun lotion and mosquito repellent, especially during the hotter seasons. A hat and sunglasses are a must during most of the year.

Some Giggles and Jokes from the Road – Queen Wilhemina State Park, Arkansas

I need to share some very funny stories. While I feel like you are hearing more of our woes than our good times, I hope you aren’t. It’s all learning experiences, no matter how they look or sound, and we treat them as such. We often find humor in the bad stuff, like me thinking the real sound of the train on the hillside where we are currently camped was a tornado. That’s funny, as scary as it was for that moment. Anyway, here’s some real humor to lighten your day.

In Big Bend National Park, Texas, we stopped at the visitor’s center and checked out the possible sights to see. While perusing the books, a woman entered with two young children. We overheard her ask the ranger if there were many animals to see.
From behind the counter, dressed in a sharp ranger uniform, he stood erect and proud of his 60 plus years on the planet. He announced in a loud, commanding voice, “Many people do, but it’s highly illegal.”

Feeding a Ram in a Safari, photo by Lorelle VanFossenWe turned around to see the woman as stunned as we were. I thought quickly, trying to grasp what was said and what was really heard. Since the man had clearly made his pronouncement and that was that, I stepped forward to help out the poor woman. “Yes,” I said softly. “It’s against the law to FEED them, but there are a lot of animals to SEE here in the park.” I emphasized the SEE and the Ranger realized his error and laughed and then proceeded to talk about the animals in the park.

Brent and I looked at each other and tried to stifle our laughter. After the next two questions were answered with misunderstandings again, we realized that the man must be going deaf and was too proud to use a hearing aid. Before we could come to his rescue again, his wife, another ranger, came out and took his place gently, making no excuses, just accepting, answering the woman’s questions with ease. Ah, that’s love. Blind love, but love all the same.

We often remember that wonderful pronouncement of his. “Yes,” we often joke, “seeing animals is illegal, you know.”

My mother added to our wonderful funnies this past week. At Fossil Rim Wildlife Park in Texas, we stopped to admire and photograph many of the unique horned animals on the drive through safari. She asked in a confident tone, “Is that one whose leaves are deciduous?”

Lorelle's mother, Ramona, gives THE LOOK to a nosy giraffe, photo by Lorelle VanFossenBrent and I froze. We looked at each other and then at the trees, no different from other oak trees that cover much of the southwest, waited. We were terrified to answer her as we weren’t sure how we should answer.

A moment later we heard a snicker from the back seat and mom admitted, “I can’t believe I just said that!” We were relieved. Now the onus was off us and back on her. We didn’t want to be responsible for answering a question we didn’t understand. “Do their horns fall off?” she corrected.

Horns? Brent and I lost it. Probably scared away some of the gemsbok and antelope near us. Howled with laughter. Brent kept laughing, “Is that one whose leaves are deciduous. Yep, deciduous horns?” I had to grab a hanky. Luckily, mom joined us in laughing, but we could tell she wasn’t too thrilled with our hysterics over what she thought was a simple slip up. But we thought of the Ranger in Big Bend and roared with more laughter.
To this day, Brent’s eyes will water a little and he’ll start to giggle and announce, “Is that one whose leaves are deciduous?”

See, we do have some fun times.

The human race has one really effective weapon, and that is laughter.
Mark Twain

First Day of Summer – Queen Wilhemina State Park, Arkansas

Animated graphic of tree bloomingA change is happening. We feel it all around us. In some ways, it makes us happy, in other ways, it terrifies us. Without a doubt, it changes our perspective.

The sun is out. Sure, we’ve suffered horrible heat as we’ve traveled all over the country, but the sun is starting to come out from under the chill of winter across the rest of the country. When the sun starts coming out, the people start coming out.

We arrived in the lovely Queen Wilhelmina State Park atop the western hills of Arkansas about three days ago. The camp sites are built-up platforms overlooking the oak trees dotting the hillside and down the eastern valley. Quite the view. We’re on top of the world. All sites were empty. We picked out one that looked good and registered at the lodge. Later the next day, another trailer showed up. They parked way down on the other side.

graphic of a hummingbirdWhile I was working, two hummingbirds, bright green, started hanging around the window by the computer. They are so small, fast moving, and just darling to watch. Suddenly one lunged for the window and I drew back, startled. I heard it hit the window with a bang. What was going on?

Seems they mistook a bright red sign we have hanging in the window for a flower. Before leaving Seattle, I stumbled upon a sign similar to the ones people put on windows of their children’s bedroom. This one is for Toshi. It says “In case of fire, please rescue cat.” It’s bright red with flames standing behind a black cat. I loved the irony of two hummingbirds attacking a “save the cat” sign. I turned it over to keep them from hurting themselves, and then got out the small hummingbird feeder we carry. It’s hanging off the back of the trailer and is visited frequently. There are four more hummingbird feeders supplied by the park around the laundry room/restrooms across the road from us. It’s a delight to watch the sparkling green gems crowd around the feeders.

graphic of a butterflyDuring the overcast day, from my window out on the park, I watched dozens of butterflies of all shapes and colors flit all over the place. The most delightful chipmunks dash all about, finding food after the long winter. Blue jays fly about kamikaze style, resting momentarily in the trees around the trailer and then darting off again. Some kind of yellow and black bird adds color to the many other birds flying around. We’re not sure what it is and we’re still hunting through the books and CD. Birds like this send Brent on an obsessive mission. He must know what everything is called.

I startled a couple of skinks as I walked out for a breath of sweet fresh air to rest my hands and back from the computer work. A forest of huge black ants aggressively attack two trees behind our site. I consider their access to the trailer, but I think we’re safe for now. Amazing how much we can appreciate the natural world when it’s outside of our sleeping quarters. Inside, nothing is safe from our quick swatters.

Graphic: In the peace of the weekday, a hummingbird visits flowers.We survived a horrible wind storm and thunderstorm through the night, the pounding rain keeping me awake for much of it. Brent is my main source of information on tornados. Having come too close to too many on this trip so far, my fear hormones rage easily. Dark clouds now mean different things to me than just rain. It could mean death or destruction. Brent kindly reminds it’s just a dark cloud and probably means rain, but I watch it carefully, analyzing its darkness and questioning its intent. He carefully explained that tornados come with a loud train noise, like one is barreling down upon you. In the night, the wind boiled up and over the ridge, seeking the exposed top where we sleep, battering trees as it tore through the forest. I could hear it coming, rattling branches against each other, and rustling the new leaves of spring. Train sounding? Sorta. My heart pounded.

Then, there in the darkness, I hear train noises and my heart almost stops. Yes, definitely train sounds. I reached for Brent, as if he can stop nature single-handedly. I’d rather die with him awake than asleep, selfish as I am. Maybe we’ll get that one last moment for him to take me in his arms and tell me he loves me. This would be a wonderful way to go. Maybe it will happen so fast, we’ll be in Kansas in minutes. I don’t know, but strange thoughts like these whipped through my mind as the trailer wobbled back and forth in the night as I extended my hand.

Just before my hand touches his shoulder, I hear a train whistle. Whistle? I paused. Did his description actually include train whistles? I lean closer to the window. It’s a real train. I don’t know how people, who do live near train rails AND tornado zones live keep their sanity trying to figure out which are which, but me, my sanity is seriously tested.

We survive the night, Brent waking refreshed and me a bit wasted, to another day and much to do. I returned to the computer to catch up on the remaining articles as Brent headed out into nature with his camera. Another day passed in peace. The clouds hovered overhead, but slowly the sun came out and so did the people.

First a van arrived spilling forth four people. An old VW van with a high roof. The four are all over 60 years old and they wander about without much discussion, plugging in the electricity, hooking up the water, and then all four crawled back in the van. Through my window to the south, I can see them, heads all facing in one direction. They aren’t looking at each other. Strange. I watch, trying to figure it out, then I realize that at ten in the morning, they are watching a television in the van.

Another van arrives and parks four stalls down from us to the north. I turn away and concentrate on the computer and then look up later to find they have strung a big yellow flag between two trees which has a funny logo I can’t make out on it and the words “American Voyager Association”. I figure they are part of some association they are proud of and want people to know this. What I don’t realize is that this is a welcoming banner. Within the hour, more than 20 humongous motorcycles arrive, engines roaring, to take up three stalls to the north of them. The noise drowns the song birds and soft rustling of the leaves.

Looking again to the south, the people in the small van are still facing the television. Beyond them, a young couple are setting up their pop-up tent camper and the woman is stringing plastic owls on a cord from the camper to the trees behind it. When night comes, they will glow red, green, yellow, orange and purple in the night. Little plastic owls with black eyes haunting the early summer evening.

A member of the big bike rally? Maybe not, but it felt like it from the size and sound of the group.The motorcycle group starts prowling the woods behind USA, their black leather jackets dark against the new green growth. They are gathering up broken branches and hauling them back to burn in the fire pit. I know National Parks have laws against this, but state parks make their own rules and I never know from one moment to the next what the rules are, right or wrong.

Brent comes racing back in the truck telling me to get dressed right away, he has something he wants me to see. I ask what, wrapped up in the article I’m writing. He tells me they’ve trapped a black bear and are waiting for the wildlife people to show up and haul it away. I’m shocked. I’ve seen this picture over and over again and it still infuriates me. I know how upset he gets when I fight against and protest such actions, so I thank him and duck out gracefully. Work calls you know. After he leaves, promising to interview the participants and Captured bear in Arkansas, photo by Brent VanFossentake lots of pictures, my heart pounds and my anger increases. I heard a commentary on a radio show recently where someone said that doing some thing or another wouldn’t bother his conscious much, but if the aliens came down and picked up a human and put them in a caged zoo, well, that would bother him….I thought about how we would feel if we were the bear. We’re wandering around, seeking food as is our lot in life, just doing what bears do, and suddenly we are seized and hauled away. Not only from our food source, but from our family, our familiar places, and all that we know. We humans think nothing of it when we do it to animals, but I wonder what our Captured bear gets examined for health concerns before relocation. Photo by Brent VanFossenperspective would be if it were done to us? So, it’s better I wasn’t there. Besides, the action got better outside the trailer.

Another van, this one an expensive new one, pulled up next to us on the north, thankfully blocking part of my view of the bike club, and a lovely, elegant old couple, tall and thin, both with perfectly cut gray hair, came out and set up lawn chairs behind the van. They didn’t hurry around, plugging things in. They just sat there, not talking, just sitting and absorbing the beauty around them for hours. Just happy to be outside, not doing anything, and just sitting together. How desperately I wanted to get inside their brains and find out what they were thinking. But I stayed away, just watching, a bit envious.

Next to them, a class C motor home pulled in. Within minutes, the round Midwestern wife headed right over to the quiet couple and introduced herself. Started chatting away. I felt like their private peace had been broken, but their elegance revealed no sign of invasion. Eventually the husband of the chatterer came over and did the big Midwestern hand-shaking and pats on the back and started jawing away as well. I felt sorry for them all.

After a while, I went out for a walk with Toshi. All the stalls north and south of us were filled, and the other side was almost filled with campers and trailers of every size and shape. Kids were spilling out of them, yelling, hitting each other, and making up names to call each other, each one worse than the previous. Old Toshi is not fond of children, especially their high pitched screaming, and he wanted back home fast. I was stopped from returning by a young girl trying to twirl the baton. A small claim to fame was twirling for my high school games. I told her so and she asked a bit about it, then went on and on about how she hated baton but wanted to try out for Drum Majorettes. Her mother said no and so she tried out for flag. I assumed that is the team that carries the flag in parades and such. I asked why her mother vetoed the other group and she whined that she didn’t know. I found out later, in the three-way conversation between her and her younger brother, who kept wanting me to guess what his three favorite sports were and then telling me that each guess was wrong, that the Majorettes were required to wear panties which are cut very high at the thigh with no skirts, and little half tank tops with a bare midriff and very low cut neckline. No wonder her mother said no. I wonder about the other mothers.

As I tried to get away from the blathering children, Toshi made a big leap and cleared a four and a half foot wall up onto one of the site platforms. I was stunned and immediately picked him up and put him back down on the ground. He has arthritis in his back hips and has terrible times jumping. With all the walks I take him on since we started on the road, he seems to have limbered up some, but this was a surprise.

As I pulled him back down toward me, a voice called out, “You don’t have to do that, he’s just fine there.” The platform he had landed on was temporary home of the chattering couple. I smiled and told her thanks, but – well, I tried to tell her that we needed to get back to the trailer but a man interrupted my answer.

“Where you from!” he ordered. I hear this all the time. What ever happened to the “how are you” and “isn’t it a nice day” comments before lunging into a such a personal command. I really don’t like this kind of conversational opener, but we get a lot of it in the south. I told him Seattle. He yelled back, “Where?” I explained, in a louder voice, “Seattle. Seattle, Washington. As in Washington State.” People think I mean DC when I say Washington, so I try to be clear it’s the state not the capital.

“Bet you don’t know Fort Lewis?” he challenged from his lawn chair. I know what is coming and I never quite know how to handle it. Sometimes politeness works, but I feel so trapped. “Yes, I do know it. South of Tacoma, north of Olympia.”

At the same time he said it, in my head I echoed, “I was stationed there! Long before you were even born!” While it makes me feel younger than I am when someone says this, it amazes me that someone can remember something 40 or 60 years back when I have a hard time remember what I had for breakfast.

We chat a bit more, reminiscing about favorite haunts in Tacoma, as Toshi tugs on the leash. I fought to remain interested and enthused about his jawing on, and Brent, bless his purple heart, drove up the truck. I’m saved. I head off, telling him that my chef has arrived and I’m hungry. Toshi raced ahead of me, eager to see Daddy. He yanked the leash out of my hands as he practically jumped into Brent’s arms.

The next morning was Saturday, the real start of the first weekend of summer. I wake to find the four in the van to the south are still sitting in the same positions I last saw them before I went to bed. Television fixation if I ever saw it. To the immediate north, the quiet couple is gone and a pop up tent camper is in process of going up in their place, bringing with it grandma and grandpa, mother and father, young boy and year old crying baby girl. The boy defines his personality immediately by yelling and throwing rocks at anything that stands stills long enough and breaking sticks over things that are standing permanently still. The baby girl is not impressed by anything around her. The platform is cement which hurts when it hits her as she falls, even through the diaper, and the gravel near the picnic table is too sharp. The adults keep her out of the grassy areas, as it is home to insects and ticks, so she spends much of her time whining and crying about this whole nature routine as she is confined to the 8 x 8 foot cement platform.

Graphic of a po-up camperA man a stall away is putting up the tent camper with a huge brown, phallic cigar hanging out of his mouth and the smell is overwhelming. The disgusting stench drifts through my trailer’s open door, so I close it and open the windows on the other side, overlooking the television watchers.

I go out for a bike ride and when I return, I notice a dozen more motorcycles have joined the group, creating a noisy rally. Now there’s a young boy, with more fat than body, wandering around the laundry building with a big plastic jug filled with gravel, shaking and pounding on it like a full percussion band. He marches back and forth under the hummingbird feeders, shouting nonsense words every now and then. The baton twirler is out throwing her baton around in the clearing near the edge of the forest, missing more than catching, and her sports crazy brother is bouncing the soccer ball off the wall of their small trailer.

animated graphic of a campfireOne of the TV watchers is out of the van starting a fire in the pit. So is the family of the screaming baby and nature killer young boy next to us. Smoke swirls around the cigar smoker and the chattering couple next to them as well as the chattering couple next to them. The baton twirler’s father and the group of motorcyclists beyond – well, they have big blazing fires going.

The cloud of white smoke boils all around the trailer from all sides, so I close all the windows and just have the ceiling fan going, blowing air outwards. These are mostly inexperienced fire burners, so there is more smoke than flame, and what flame there is shoots up into the sky, making for a lousy cooking fire. The air stinks of lighter fluids, charcoal and burnt rubbish.

A future bully stalks nature in the campground.The hummingbirds are absent. In fact, in the past few hours, I’ve seen only one blue jay. One big yellow butterfly flitted around, but it got too close to the nature killing child. After blasting it out of existence with a rock, he ran over and stomped on it, grinning from ear to ear with the success of his hunt and destroy. The adults look on and smile at him, weariness in their faces.

I look around and wonder where the hikers are? Why is everyone sitting around their homes away from homes, just on the fringe of nature? There is a tiny train ride all over the park, a small aviary and monkey house nearby, a train engine to crawl all over, many trails and hikes, and tons of things to do. But the sites nearest to us are occupied by people. The killer and crying baby family have pulled out children’s board games and sit around the picnic table, the smoke clouds their vision both from the fire pit and the cigar smoker next door – and they laugh as the killer child proceeds to stand up on the picnic table and walk across the board game, kicking the pieces everywhere and stomping on them. The TV watchers are all back in the van as the fire pit burns unattended. The chattering couple is off bothering the twirler’s family, their fire also unattended, but at least they are nearby.

Why are these people here? Why am I here? Me, I’m working. We do much of our outside-in-nature time during the week, while the natural places are mostly empty. The weekends are for working and cleaning the trailer so that the week will start off a little cleaner than the one before.

All of these people change our perspective. For the past few months, we’ve rarely fussed much about locking up our bikes, waiting for us outside the door of the trailer. Now we double bolt them. We always lock the trailer at night, but we usually leave the windows open during the day, even when we’re gone. Now they get closed, even when we are in the trailer as the outside chemical smells are so offensive. Toshi isn’t allowed out at night, even on the leash. We walk him and sit outside with him, keeping a close watch over him. The other campers let their dogs run wild and we’re tired of them choosing Toshi as a bunching bag. He likes to lay under the trailer or on the bottom step of the stairs bothering no one, just watching the world go by. Children parked nearby come racing over to pet and pick him up, something not high on his list. It turns him from a very malleable lump of cat flesh into a beast with claws and teeth, their screams putting the hair up on his back. We don’t want to be responsible for him attacking a child, even one who attacks first.

graphic of the sun shining on the open road through an open doorSo summer has arrived. That means making reservations months in advance, planning out our course and traveling on weekends and sitting still during the week. It means finding out when school vacations are in the different places we travel so we can work around the mass exodus of families heading for nature for longer than a weekend. It means increased security. Increased worries, increased fears. Violence doesn’t just happen to people in nature. People bring violence with them to nature. They bring their booze, boom boxes and messes. Instead of debating how we will approach an elk for a closer photograph, we have to decide how to approach the twit laying on a picnic table 50 feet from his car with the music blasting out the open doors and ask him to turn it off. Gone are the bird songs, the soft rustling of the wind through the trees and grasses, and time spent watching the squirrels and chipmunks chase each other.

Ah, summer is here. And we’re in the middle of it.

A Visit With a Publisher – Understanding the Editor, Photo Editor, and the Job

graphic of a loupe and slides on a light tableWhile traveling on the road full-time, we got a chance to spend a couple days with one of our publishers. What we learned from those few days reflects the same things we hear from publishers and editors around the world. The most important thing we learned, which you will hear over and over, is this: Make it easy for them to work with you and they will keep on working with you.

The Typical Editor

There seems to be a lot of myths and misconceptions about what an editor does and how they should act. Our favorite myth is the one that goes something along the line of “if the idea is good enough, the editor will fix it, even if the writing is terrible.”

The reality is that many editors don’t have time to go through everything that crosses his or her desk. They have articles to read and review, decisions to make about content, planning sessions, people who want to talk to them all the time, email to read, phones to answer, faxes to respond to, and many editors have their own articles, columns, and writing assignments that have to meet deadlines, too. They allocate their time as well as possible, giving time and care when and where they can.

When it comes to writing, some ideas are worth fixing, but most consume the editor’s time and energy when they could be doing something else more profitable. If they have a personal investment in the writer, or if they know the writer or photographer’s name is enough to help sell the magazine, they will put a lot of work into making the article wax poetic. Otherwise, if it ain’t good, they won’t take it any further than the trash bin.

Editors enjoy working with the same writers and photographers over and over again. From a beginner’s perspective, it looks like these writers have the field sewn up. There is room, but ask yourself why they keep going back to the same writers? The reasons you will hear from editors and publishers are professionalism, excellence in work and production, ability to meet deadlines, and a joy to work with. From our visit and working with editors from around the world, we’ve learned these tips which should help get your work in the door and keep them coming back to you.

To Be Professional, Act Professional

Open any “how to write” book and they say the same thing: “Read the magazine, read the guidelines, and give them what they want.” In other words, be professional and don’t give them articles and images they don’t need. Don’t waste their time. What stands out from the crowd of submissions is always professionalism. There are no excuses nowadays for handwritten articles or letters or poorly prepared submissions. There are many books available on how to submit material to a magazine or publisher. Yet, many times during our visit we witnessed violations of basic submission instructions.

Appearance is everything. When the editor or publisher won’t ever see your face, what you send them via email and regular mail is your face. It is your appearance. Make it professional looking and you will take a giant step towards getting published. Here are some of the things we learned on our visit with a publisher.

READ THE GUIDELINES
If you haven’t read the guidelines, you don’t know what they want and what their restrictions and preferences are. Don’t waste their time. The guidelines layout exactly what they are looking for in material, how it is to be delivered to them, how it will be handled, and everything you need to know to work with them.
Do Your Homework
Even if you are familiar with a magazine, go back through recent past issues and do your homework. Really evaluate the magazine, not just from a writer’s perspective, studying writing styles and presentation, but look at it from the reader’s point of view and the advertiser’s perspective. The editor can spot someone who knows the magazine in how they talk about it and what material they are submitting. If you send them a proposal on photographing wildflowers three months after they just published an entire issue dedicated to that subject, they know you didn’t do your homework.
Mailing Material
We watched mail being sorted and handled, much of it unsolicited articles and images in all shapes and sizes. It amazed us what people think they can get away with. We saw things in oversized boxes, stapled nightmares, and poorly labeled containers. The greatest tragedy were the packages wrapped in miles of scotch or strapping tape. It took a knife to slice some of them open. Use a professional looking envelope or package that is easy to open and you make everyone much happier.
Label Everything
One photographer sent in 10 zip disks with no labels, no delivery memo, nothing but a note saying, “Pick out what you want and let me know.” The editor’s assistant, with no ZIP drive, took the disks to the production group and interrupted someone working under a deadline to print out copies. It made everyone mad and screwed up their schedules. The assistant wanted to send the whole thing back with a refusal. Always include the required paperwork as outlined in the guidelines. Include a delivery memo specifying everything you are sending with descriptions of the images. If they are on disk, make sure the editor has the equipment to handle them and print out good quality sample pages, clearly labeled with what the subject is and where to find it on the disks.
Put Contact Info on Everything
Graphic image of slides on a light tableAs your images and article go through the editing/production process, they can get scattered around. Make sure your contact information and article title is on everything you send. If the editor wants more information or more photos, or maybe even another article, they have to know how to find you quickly and easily.
No Unsolicited Material
Almost all unsolicited work is returned by most publishers. This information is stated right on the masthead of the magazine. Do what it says. Query first, before sending valuable images and/or manuscripts. When they say they will not be held responsible for unsolicited work, they mean it. When our editor told me the monthly cost of returning material, even unsolicited, I was shocked. Many publishers just can’t afford it. Take them seriously when they say don’t do it.
Send Good Cover Material
When writing a feature article, provide images for the cover, too. Cover images have to fit within their format. Each magazine cover has specific requirements. Some include people, others feature only scenics. Some want images to reflect the articles inside, others want the image to represent the season or just be eye catching. Research how they use and include images you recommend as covers. Nothing is more exciting than getting a cover image! Help them help you get there.

Helping the Editor Help You

Graphic of a typewriterBy doing everything you can to make the editor’s job easier, you help yourself get published. It isn’t just about looking professional, it is about being professional and giving quality work.

Edit Your Work
Edit your writing as well as your photographs so the editor will get the best you have to offer. Keep the number of slides you submit to a manageable number, one to three per main point in the article. If the editor requests 20 slides, don’t send them 25. Make sure the images are sharply focused, clean, and worthy of publishing. By self-editing your work before you submit it, you set a professional standard.

Counting Counts
Most word processors have word counting tools. In WordPerfect, it’s “File, Document Info”. In MS Word, it’s “Tools, Word Count.” Editors layout articles by the column inch, something difficult for a writer to figure out. It is based upon the font and font size, column width, margins, and page size of the publication. By giving them a fairly accurate word count, an experienced editor can estimate the column length, finding a place for your article quickly.
Word Counts and Length
Some people, like me, are voracious writers. Other people find meeting a 1000 word deadline the stuff of nightmares. Stick to word count maximums. If anything, go under. For photographers, the fewer the words, the more room for photographs. The more words, the fewer photos. If your story is a visual one, suggest having fewer words and more pictures. If the story is a verbal one, have more words. One editor told of a photographer asked to write an article about exposure. The writer wrote over 8,000 words. The limit was 1,000. He COVERED exposure. Work hard, long before the editor ever sees the work for the first time, to narrow your points down. Put the word count on the front or last page of your submission, AND in the cover letter.
Article Titles
How many ways can you say “How to take great bird pictures?” “How to take pretty scenics?” How many times can you use cliches like “Birds of a Feather?” Month after month, a magazine publishes the same kinds of stories. How to take pictures. How to work with flash. How to plan a trip. How to lose weight. How to…whatever it is. A good title helps the magazine sell itself but a catchy title also helps you sell your submission. Titles are an art in themselves. What may sound perfect to us may not work for the publishing company. Your title may describe the article, but the publisher wants to sell the story and magazine to readers. Few articles get published with the title the author originally came up with, but give them a good one and it can give them ideas and help you sell your article to the magazine in the first place.
A Magazine is a Work of Art
graphic of slide pagesA magazine is a “designed work of art”, not just a bunch of pretty pictures and words. We watched the production staff laying out pages, shoving this and that around, figuring out how images would go across a fold, horizontal or vertical, and how the text wraps around, fitting in advertisements here and there. I suggested they flip one picture so the subject was out of the fold. “We don’t do that!” This particular magazine will not crop or flip an image without permission from the photographer. Nothing sets off readers writing nasty notes more than a picture of El Capitan on the right instead of the left of the Merced River. Designers will adjust photographs so they are printable on their presses: too dark is made a little lighter and colors that won’t print are tuned to something printable within the CYMK range, but they will not crop or flip without permission. The graphic designer in me struggles with this, but this is the respect they give the artistic photographer. Your images are yours and any changes could violate the trust this magazine has with their photographers. NOTE: If you are willing to have your images cropped or graphically manipulated, then make this clear in writing on your submission. Sometimes helping the staff do their job better helps your reputation.
Be Fair and Patient
There are lots of stories about photographers and writers making an editor crazy: demanding to know when the article will be published, not responding well to criticism or edits, demanding to be paid on acceptance and not publication…and bugging them via phone, fax and email so much that they don’t want to do business with them. Be fair and you will get fair treatment back. Yes, publishers want to make every dime they can, and writers and photographers are usually the first to feel like they are shafted with issues like compensation and rights control. When you find a company who treats you fairly and for whom you have respect, treat the relationship well and treasure it. They will do the same. In the long run, we all will benefit from that treatment.

Visiting with the Publisher

We saw editors and staff who CARED about what they did. They were committed to making their work the best they could. The great writing, the creativity, and the delight of working with the good material seemed to cancel all of the problems of the bad. Not all magazines are like that, so we treasure the ones we work with who have that kind of respect and appreciation for what they do.