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Arapaho National Wildlife Refuge
Colorado's wildlife refuge in North Park comes alive in the spring
By ROBERT FRANZ
The slough was bustling with activity all around me. A muskrat was feeding
at the edge of the cattails. Several Wilson's phalaropes were probing the deep
mud of a shallow river inlet with their long, slender bills. Two graceful
avocets swished their curved bills back and forth in the water searching for
small aquatic insects. Pairs of Canada geese were noisily defending their nest
sites from anything that ventured too close. A harrier glided by on teetering
wings, hunting the meadows for voles and mice. A cinnamon teal drake swam back
and forth feeding while his mate sat patiently on the nest, incubating a clutch
of eggs. It was late May at Arapaho National Wildlife Refuge, and the resident
wildlife was going about the business of life.
The National Wildlife Refuge system is a network of lands and waters managed
especially for wildlife. There are more than 400 refuges in 49 states preserving
more than 90 million acres of habitat for hundreds of species of birds, mammals,
reptiles, amphibians and insects. At least 60 endangered species live within
refuge boundaries. The refuges are administered by the U.S. Fish and Wildlife
Service and financed in large part by sportsmen's dollars. Arapaho is one of
four National Wildlife Refuges located in Colorado. It covers 12,814 acres, most
of which is open to public visitation.
Arapaho National Wildlife Refuge is located in North Park, the northernmost
of four intermountain basins in the state. The basin, or park, is roughly 45
miles long and 35 miles wide. It's bordered by the Park Range to the west, the
Never Summer Range and Rabbit Ears Range to the south and southeast, and the
Medicine Bow Range to the east and northeast. The mountains surrounding North
Park contain numerous meandering streams that come together to form the North
Platte River and provide rich habitat for the area's wildlife. The floodplain
consists of grass meadows and willow flats, and the higher ground is covered by
sagebrush. Summers in the basin are warm but short, and the winters are long and
cold.
North Park, before the arrival of white settlers, was summer hunting grounds
for the Ute Indians. The Ute called this area the "bull pen," referring to the
bison they came to hunt. In the winter the bison would leave the area as did
most of the other animals that were found here in the summer. In 1820, Jacques
Bijeau, a French trapper, gave the first recorded account of the valley. He,
like many others of his kind, was lured into this remote, untapped region in
search of beaver. John C. Fremont, the explorer who mapped much of the West
during the early 1840s, crossed North Park in 1844 and described it in his
journal as "a paradise to all grazing animals." And by 1878 the first white
settlers, the Jacob Fordyce family, had moved in.
Arapaho National Wildlife Refuge was acquired in 1967 by the U.S. Fish and
Wildlife Service to provide nesting habitat for waterfowl and help offset
habitat losses in the pothole country of the Dakotas, Minnesota and Canada. To
ensure an adequate water supply in this arid climate, a network of irrigation
ditches divert water from the Illinois River on the east and distribute it to
the various ponds and meadows on the refuge. Irrigation, periodic burning,
proper grazing and water-level manipulation in the ponds are all used for
maximum production of waterfowl.
At an elevation of 8,300 feet, Arapaho is the highest National Wildlife
Refuge outside Alaska. The ice on the ponds melts in early April, and the
first migrating waterfowl begin to arrive shortly thereafter. The Canada geese
begin nesting then and by the end of May, approximately 5,000 ducks will have
moved in. The refuge produces about 8,000 ducklings and 200 goslings each
year. Nesting ducks include mallards, pintails, gadwalls, wigeons, blue-winged
teal, green-winged teal, cinnamon teal, shovelers, redheads, scaup and ruddy
ducks.
There is also a great variety of shore, marsh and water birds on the
refuge. Avocets, Wilson's phalaropes, black-necked stilts, killdeer, snipe,
willets and sandpipers all nest here. The upland areas of the refuge are home to
mule deer, pronghorn antelope, golden eagles, prairie falcons, ground squirrels,
white-tailed prairie dogs and jackrabbits. Sage grouse are here
too, but there are no known strutting grounds on the refuge. One may
occasionally observe red fox, coyotes, weasels, muskrat and beaver. Moose that
were introduced to North Park by the Division of Wildlife starting in March 1978
may be observed (carefully) in the willows along the Illinois River.
The Araphao National Wildlife Refuge offers opportunities for wildlife
observation and photography. By slowly driving the roads open to the public in
the refuge, visitors can take photos from their vehicles. Sitting quietly on the
shore of one of the ponds or marshy areas is another method to
successfully observe and photograph wildlife on the refuge. Bird-watching
opportunities are excellent: 154 species of birds have been documented there.
Fishing is permitted on the Illinois River except from June 1 to July 31 to
protect waterfowl and their young. The fishing is a challenge due to the thick
willows that grow along the river. The willows, however, are essential to the
trout's survival since they provide shade and keep the water temperature
tolerable. Most of the refuge is open for public hunting of sage grouse and
antelope during the established seasons.
May through October is the best time to visit the refuge, as winter is
harsh and most birds have migrated south.
Information is available at the refuge headquarters, located south of
Walden and east of Colorado 125 on Jackson County Road 32. A six-mile self-
guided auto tour begins three miles south of Walden on the west side of Colorado
125. The entrance is well marked. From the road on the tour route you will be
able to see prairie dogs and ground squirrels. Ducks, waterbirds and shorebirds
may be seen around some of the many ponds and marshes the road passes. Hawks,
eagles and antelope are often in evidence. Motels and service stations can be
found in Walden. Campsites abound in nearby Routt National Forest and the
Colorado State Forest to the east. For refuge information
write: Refuge Manager, Arapaho National Wildlife Refuge, Box 457, Walden, CO
80480. The telephone number is (303) 723-8202.
-//-
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COLD PHOTO FACTS
Taking Photographs of Wildlife in Winter
requires a little extra preperation.
On a recent photographic trip up north, we observed a personalized license plate
that expressed a common opinion of winter. It simply read "BRRRRR." Despite the
"brrrr" factor, winter is an outstanding time to pursue wildlife and nature
photography. There are many advantages to winter photography. For one thing
it's less crowded, most photographers and wildlife watchers are settled next to
the fireplace. Second, splashes of autumn color or fields of flowers are easy
subjects to see and capture on film, but the subdued tones and monochromatic
whites and browns of winter give a totally different look. The lack of diverse
and brilliant colors forces us to use other elements to define the subject.
Third, winter offers an entire season of animal behavior not seen at any other
time. Bighorn sheep, as well as mule and white-tailed deer, breed as Colorado
moves into its cold season, and winter migrants such as bald eagles, ferruginous
and rough-le gged hawks are numerous. Fourth, leafless trees and shrubs make
some species more visible, including great horned owls, rabbits and raptors in
general.
CLOTHING
The dynamite winter shot doesn't start with equipment. Instead it begins with a
warm, dry, happy photographer. The technically superb, cold, wet and worrying-
about-frostbite shooter does not achieve effective photos.
Start with a positive attitude about cold. Before embarking on a shooting trip,
get comfortable functioning in the cold by testing your clothing and equipment.
This will develop confidence that you and your equipment are capable of
performing in adve rse conditions.
The basic winter equation is "dry equals warm." Layers of moisture-wicking
material are essential for photographers and other people active in winter. A
strenuous hike up a hill to reach the best spot to photograph an elusive bighorn
is invariably fo llowed by an extended wait for photogenic activity to begin.
The ability of a fabric to pull perspiration away from the body prevents a chill
from settling in. The resulting comfort removes one barrier from the patience
needed to get that great shot. Extensive outdoor experience has taught us that
mountaineering shops are great sources for quality outfitting. Start with the
feet. Most people in Alaska live half the year in felt-lined pac boots.
Combining boots with polypropylene inner socks and a good wool or synthetic
outer sock, plus gaiters, keeps snow out and feet warm.
Long underwear of polypropylene, Capilene, Thermax and other innovative
materials are the best foundation. Wool or fleece overpants and sweater make a
cozy second layer. If the temperature warrants extra insulation, a wind-
resistant shell or parka tops it off.
A convenient glove style for photographers is the Miller mitt or fingerless
gloves. Combined with polypropylene-type, thin liner gloves underneath, most of
the hand and fingers stay warm while retaining the ability to work controls of
camera and lens . A fingerless glove with an attached mitten provides ultimate
layering. Tempo is one brand that advertises this product. Even in Colorado it
rarely becomes cold enough to need overmitts made of Gore-Tex, but for wet or
severe conditions, they will do the job.
The proper hat allows the body to retain all the heat you have worked so hard to
capture by dressing properly. A great variety of hats made of wool, fleece or
new insulating fabrics are on the market. Consider one that covers your ears and
if you need a brim, choose a soft hat that does not interfere with camera
viewing. The color of the clothing is not significant in approaching animals.
Photographers rarely attempt to sneak up on their subjects.
EQUIPMENT
The older mechanical cameras of 10-20 years ago are perhaps still the best for
cold winter conditions. The new electronic cameras are completely battery
dependent, and some lithium batteries powering newer cameras seem to be
especially prone to poor performance in the cold.
Rely on experience rather than manufacturers' recommendations regarding battery
replacement so your camera will operate when and where you need it. Always carry
at least one spare battery in a warm pocket and if possible, use rechargeable
NiCads. Rechargeables are more cost-effective and provide superior performance
in the cold. Also, by using NiCads, you avoid having to purchase a non-
recyclable product.
Avoid rapid temperature changes by wrapping your camera and lenses in a coat
when moving them between cold and warmth. Quick temperature change can cause
condensation on lenses. Allow equipment to gradually reach room or outdoor
temperature before uncovering it.
To further protect equipment from the elements, photographers sometimes use
plastic bags or a variety of other improvised solutions. We have found camera
and lens covers made of Gore-Tex, manufactured by Christy Covers, to be the most
effective method of working in bad weather. They cost more than a plastic bag,
but consider the value of the equipment youÕre protecting.
Cover metal segments with tape to prevent the unpleasant experience of exposed
skin sticking to metal camera or tripod parts.
FILM
Another advantage of winter photography is the low sun angle throughout the day.
At other times of the year, it is best to avoid shooting at midday because of
the harsh shadows and contrast that often prevent an effective photograph.
Winter's low sun angle will make photos taken throughout the day have that
early- or late-light look that is a component of many fine photographs.
As always, it is best to use the slowest film possible. The slower the film, the
finer the grain and the better the picture. Experiment with the films you
normally use, but if they do not give you a result you like, be willing to try
others. Some fil ms, such as Fujichrome or Ektachrome, are better at rendering
neutral winter shades. Shoot your film in a variety of conditions, including the
heavy overcast of winter and brilliant, clear skies.
One more winter equipment reminder: wind film slowly. Cold can make film
brittle, and it could break if advanced or rewound too quickly. The risk of
creating static electricity on the film is avoided by slow winding, as well.
EXPOSURE AND LIGHT
Perhaps the most difficult element for winter photographers to command is
exposure. Light meters are designed with the assumption that the scenes in front
of them are 18 percent reflectance gray. This medium-gray standard may be
accurate for average scenes taken the rest of the year; however, when your frame
is filled with predominantly lighter values, you need to make exposure
adjustments. That is particularly true with slide films.
A difficult thing to comprehend in these adjustments is that you need to let in
more light, but that is just the opposite of what logic may tell you. Just keep
in mind that the camera will turn your white snow to dirty gray if you do not
compensate b y at least one to two f-stops. Depending on the subject,
compensation can be achieved either by adjusting the shutter speed or aperture.
Another alternative if you are using the camera in an automatic mode is to use
the exposure compensation dial tha t is on most cameras. If the opportunity
presents itself and you are unsure, bracket the exposure, keep a record of the
bracket, and when your film comes back, determine what worked best.
Another way for a light meter to read a scene accurately is to meter off an
equivalent value. An equivalent is something that is close to 18 percent
reflectance gray. Fortunately, many rocks in Colorado are about 18 gray.
When photographing ptarmigan or mountain goats, and rocks are visible, that can
be easy. Choose rocks that are lit from the same direction as the subject, aim
your camera at the rocks to fill your metering area, set the exposure, recompose
the scene and shoot. Of course, this requires manual metering or an exposure
lock, so your setting will stay where you put it.
A third way to expose your white scene properly is to take a meter reading off
the clear north sky. Our Colorado skies make that quite accurate. Assuming your
subject is also to the north, swing your camera to meter the sky, set the
camera, recompose and shoot.
Awareness of the quality and direction of light is essential to the successful
winter photograph. Somewhat like black and white photography, winter
photographers look for form, mass, texture and contrast. These qualities are
often overlooked in gener al nature photography, and their use should improve
your overall work. Neutral winter colors are quick to pick up any color cast in
the skies. The warm light of sunrise or sunset brings a rich, pastel palette to
an otherwise monochromatic winter world.
FINDING WINTER WILDLIFE
We're finally prepared to photograph anything we encounter in winter. Whether
it's finches in your backyard apple tree fluffed up against the cold or a moose
walking across a frozen river in North Park, you can concentrate on observing
and documentin g Colorado's winter wildlife.
It is vitally important to avoid stressing animals during this most perilous
season of cold, wet and limited food. Maintain a distance, use longer lenses,
blinds, use vehicles as blinds and at all times be aware of the signs of stress
in wildlife. Foot stomping, cessation of activity and moving away are a few
signals that animals may be affected by your presence. When you see signs of
stress, stop any behavior that may be causing it. As winter progresses, the
animals may not move away as quickly because they are trying to conserve energy.
While that may entice a photographer, be aware that stress may still be
occurring to the animal. Another reason to avoid photographing around animals in
late winter is their overall physical appearance. Coats can be patchy and winter
bleached, and many animals are thin.
Colorado's bald eagle population swells from less than a dozen nesting pairs in
summer to over 600 birds during winter. Wintering eagles are found throughout
Colorado, particularly around major rivers. Eagles may also congregate near
unfrozen lakes and reservoirs. Artesian water and numerous rivers in the San
Luis Valley make that area attractive to several hundred wintering bald eagles.
The Rocky Mountain Arsenal provides critical night roost habitat for more than
100 of the endangered birds. Arsenal eagles can be observed only from a distance
on wildlife bus tours and from the eagle watch viewing area.
It is challenging to document the endangered birds in Colorado, but it can
sometimes be done with very long lenses, knowledge of the birds' habits and - as
always - a little luck.
Colorado's large ungulates are perhaps easier to photograph in winter than at
any other time of the year. Many elk, deer or sheep have moved into wintering
areas, such as in Rocky Mountain National Park, along Colorado's Front Range,
and in North, Middle, and South Parks, as well as along the Gunnison River and
in other mountain valleys.
National and state parks throughout Colorado are worthwhile for wildlife
photographers to explore during winter. The proximity to roads and trails makes
many animals accessible.
An effective approach to photographing in many parks is to use your vehicle as a
blind. Numerous pullouts and parking areas are adjacent to open meadows
regularly used by wildlife.
Winter also brings many raptors. Falcons, hawks and owls are easier to see. They
sometimes concentrate near favorite feeding areas, including prairie dog towns
or fish kills. Use this to your advantage. Colorado's Eastern Plains are also
outstanding for viewing and photographing winter wildlife.
The open waters of urban lakes, rivers and ponds are excellent places to find
approachable wildlife. Areas with water warmed by power and sewage plants often
have a concentration of wildlife. Gulls, ducks, geese and others are often
acclimated to hum ans nearby and feed, fly, preen or squabble nearly oblivious
to a quiet photographer. Areas close to home provide the perfect opportunity to
test you and your equipment. If your equipment fails, simply go home and warm it
up. After your equipment is warm and working, determine why it failed and how to
fix it.
The rewards of photographing Colorado's winter wildlife are attainable by using
common sense and proper preparation. It is possible to venture to the wild
corners of our state in winter with confidence that you'll bring home something
more substantial than a frostbitten nose.
*-TravelBank.Com-*
Taking Great Wildlife Photos Is No Snap
All of us at one time or another have stared in awe at clear, bright close-
up photos of wildlife and thought that we'd like to take such pictures.
The good news is that we can take dramatic wildlife photos --perhaps not as
great as those snapped by the pros, but nevertheless fine enough to frame. The
bad news is we probably need to invest a few hundred dollars in better photo
equipment.
Wildlife watching generally is one of the simplest of outdoor activities
and doesn't require a lot of complicated and expensive equipment. The same,
however, is not true of photographing wildlife.
Great wildlife photographs are NOT made with an instamatic camera nor one
with a normal lens. Good wildlife photography requires some specialized
equipment -- not necessarily extremely expensive, but nonetheless specialized.
A telephoto or zoom lens, which magnifies the image and gives you a close-
up view without actually getting close, is an absolute necessity. Most wildlife
portraits are taken with long lenses (300mm and often 500mm or longer).
And you'll probably need a tripod to reduce vibration. Wildlife
photography also requires a personal code of ethics. The basic rule that
all photographers must adhere to is this: The welfare of the subject is more
important than the photograph.
This is not to say that no photograph should be taken if there is a slight
risk to an animal, but the photographer must do the utmost to minimize that
risk.
There are two broad categories of ethical concerns in nature photography.
One is concern for wildlife, plants and natural conditions. The other is a
concern for the rights and enjoyment of other people who may wish to observe or
photograph.
Part of becoming an effective wildlife photographer or observer of wildlife
is learning the point at which your presence becomes harassment of your subject.
Observe and photograph wild animals at a distance they consider safe.
What is a safe distance for the animal? You are too close if the animals:
are giving you their undivided attention with heads up and ears pointed toward
you; are nervous; or are jumpy when you move or make a noise.
If you see these signs, sit quietly, or move slowly away until they
disregard your presence.
Just as some predators test prey until they find the individual that can be
captured, the photographer can test animals until he or she finds the tolerant
individual that can be photographed with a minimum of stress.
Some individual animals are amazingly tolerant of human presence. You will
know which they are if after a brief show of interest, they pretty much ignore
you and go about their business. It is preferable therefore not to try to sneak
up on animals but rather remain in view and move slowly.
The trick is to not surprise or press the subject or force it into a
"dramatic" pose or action, but rather to catch natural and relaxed action on
film.
Wildlife watchers and photographers must also take care to avoid disturbing
other people.
In some now crowded wildlands discourtesy is becoming a serious issue. It's
important that people respect the solitude of those already observing or
photographing an animal.
Try to avoid crowds. You won't bother others, they won't bother you -- and
you'll get better photos.
*-TravelBank.Com-*
Lenses for Wildlife
By W. PERRY CONWAY
Just like you wouldn't go elk hunting with a slingshot, trying to
photograph wildlife effectively with a typical "point-and-shoot," or as I
commonly call it, "P.h.d." (push here dummy) camera, simply doesn't make sense.
For ambitious photographers who have quickly recognized this, two other
issues become apparent. The first is what lens to choose among the wide variety
on the market. Second, what lens is a good value. As many camera sales people
simply don't understand what is needed for quality wildlife images, advice from
experienced nature photographers is perhaps the best way to proceed. Without
help, the results could be the photographic counterpart of a slingshot.
First a little about lenses. For most wildlife, a telephoto is needed. To
determine a lens's telephoto ability, divide its focal length by 50. For
example, a 300mm lens is comparable to a 6-power telescope; an 80mm to 200mm
zoom is comparable to 1.6x to 4x telescope. Optical quality in camera lenses
also varies a great deal, especially in telephotos.
The best kind of glass for sharpness and color clarity is called
apochromatic, or APO for short. The highest quality telephotos used by sports
and wildlife specialists have this type of glass. Historically, telephotos with
APO glass were extremely expensive, at least $1,000. Because of technological
advances in production, their cost has been greatly reduced. Staying with APO
glass manufactured by recognized camera companies has always been a good idea.
Names like Nikon, Canon, Pentax and Minolta were synonymous with high quality
but unfortunately with high cost as well.
Several years ago, I read a report about a new telephoto lens made by a
company that manufactures primarily lenses -- no camera bodies, strobes, etc. I
had heard of Sigma lenses before but had never used one. I noticed Sigma had a
400mm, (8 power), F 5.6, APO lens for about $400. As Sigma makes no camera
bodies, it makes lenses with different mounts so they can fit cameras by Canon,
Minolta, and other major brands. The first chance I had to borrow one, I did and
was impressed. It weighs under 2 pounds and is only 9 inches long. Its optical
quality is very acceptable for a lens costing that price.
Finally, a lens is available that allows safe and effective wildlife
photography without having to mortgage the house to pay for it. Depending on the
subject and the type of image sought, the magnification power of a lens does not
need to be enormous. A favorite multi-purpose, short telephoto is the 80mm to
200mm zoom. It's also great for landscapes that include wildlife. That type of
lens will almost always leave photographers disappointed, however, if they want
to photograph birds, even large ones like eagles or geese. In addition, for
stunning portraits of large mammals like elk or moose, the lens still will not
be enough for striking results without harassing the animal or endangering the
photographer's safety -- often both.
A common but ineffective solution many people have tried to solve this
problem is to take a moderately priced small telephoto, 200mm or less, costing
under $350, then add a teleconverter or doubler, commonly called a 2x
multiplier. Now the 200mm lens becomes a 400mm one. That seldom produces sharp
photographs. Most moderately priced short telephotos let in enough light for
acceptable pictures in bright light. However, adding a multiplier cuts the
light-gathering capability and as a result requires using expensive high speed
film, such as 200-400 ASA or higher. In addition, and even more importantly, is
the fact that high-speed films are not as sharp and brilliant in color as low
speed films with ASAs of 25-100. The multiplier approach simply doesn't make
sense.
Also keep in mind that seldom, if ever, is optical sharpness maintained,
especially with less expensive lenses and teleconverters. With long lenses
(400mm and up), holding the lens absolutely still while shooting becomes
critical for sharp images. Unfortunately, many people will try to hold this kind
of equipment in their hands, which almost always results in less-than-sharp, or
"soft," pictures. The problem is solved by using a sturdy tripod. Gitzo and
Bogen make the best ones for nature photography.
Realistically, a good lens for wildlife should be at least 300mm in focal
length (6x), longer for birds and be no slower than F5.6 in its light-gathering
ability. Once again, check out the Sigma 400mm, F5.6, APO, but don't use it with
a teleconverter.
Wildlife photography today seems to be going in two directions. Different
lenses are needed for the two approaches. for many years, most professionals
and nearly all amateurs were trying to obtain great portrait images, ones where
animals filled at least half of the frame. The bigger the animal in the picture,
the better. Even though portraits are still popular, another approach is more
aesthetically pleasing and exciting. Those are beautiful landscapes with
wildlife as an important component but not the only interesting element in the
image. Good news -- perhaps the best lens for this type of photography is the
80mm to 200mm zoom, one of the most versatile and popular lenses. Just about
every camera and lens manufacturer produces them. Because they are not medium to
long telephotos, APO glass is not as necessary for sharpness, and they cost
less.
To get closeups of wildlife, such as head shots and nearly full frame
images of geese and prairie chickens, 400 mm is the minimum, and 500-600 or even
800mm may be necessary. High-quality lenses in this category are expensive; $4-6
per millimeter is not an uncommon price. One way to get around that is to
purchase a high quality (APO glass) telephoto of at least 300mm to 400mm,
then add a matched teleconverter. I realize that I said earlier that the
multiplier approach doesn't make sense. Well, here's the exception. Use a
teleconverter specifically designed to work with that lens. For example, Nikon,
Canon, Pentax, etc., make excellent 300mm and 400mm lenses. Get one that has a
lot of light gathering ability, for instance, with F2.8 or F4.0. A F5.6 or
higher doesn't work. I particularly like the 1.4x teleconverter used with a 300,
500 or 600mm. With the teleconverter, a 300mm becomes a 420mm, a 500 becomes a
700mm and a 600mm becomes an 840 supertelephoto. Only one f-stop of light is
lost, and the image quality remains high.
Another important issue to consider is autofocus versus manual focus
cameras. The good news is that autofocus telephotos work and work reliably. The
camera and lens must work together effectively because it's the camera that
focuses the lens. Canon seems to have the fastest autofocusing capability with
Nikon and Minolta close behind. Even difficult flight shots of birds are
possible. For the most consistent results, however, stay with lenses and cameras
of the same brand. Nikon and Canon are the best choices.
In summary, I would pick two lenses for wildlife photography: a short
telephoto zoom between 80 and 200mm for landscapes with wildlife and a longer
telephoto for closeups or animals that are unapproachable. More good news --
photographing nature can be enjoyed during any season. Enjoying wildlife
through the lens of a camera is a creative and exciting way to discover the wild
world around you.
Boulder based naturalist W. Perry Conway has been a full- time professional
nature photographer since 1974. He recently completed a multi-media slide show
for the Colorado Division of Wildlife on Colorado's Watchable Wildlife Program.
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