Capturing awesome shots of wildlife in British Columbia is not typically challenging if you are in the right place.
There is such a bounty of amazing animals and scenery to shoot in the wild places of Canada’s westernmost province. This year I decided to up the difficulty a little by trying to do some truly large scale images of the dramatic scenery, but including animals in them, such as whales, bears and salmon.
It was easier said than done, especially shooting multiple stitched images from the deck of a moving boat. With the unpredictability of whales that pop up in sometimes unexpected places, it made it challenging to frame the images. But I still managed to get a few this year.
There is a large increase in the Humpback whale population in the Salish Sea and up the coast of British Columbia. There is something pretty cool about seeing a whale tail lifted out of the water against a backdrop of mountains.
On my first trip to the Oreford River in Bute Inlet I also tried a few large scenes with Grizzly Bears. Not having much time, and with the sometimes quickly moving bears, it proved difficult. But the scenery is so dramatic there that even with just one bear in the image it makes for an eye-catching scene. that is symbolic of the coast.
Next year I plan to spend a considerable amount of time really focusing on wildlife panoramics. The challenge is fun and the images worth it.
Note- These images and all the rest on the website can be used for many different applications including large wall murals, architectural installations, and billboard sign graphics. Contact me if you have any ideas you want to discuss.
I also do free image mockups if you send me a photo of your space.
Overcoming the challenges of shooting stitched image wildlife panoramics.
Stitched Landscape Panoramics have been popular for a while now and I have been enjoying the challenge of making epic landscape images with this technique. On a recent trip to Botswana my mission was to try super high resolution Stitched Wildlife Panoramics.
gathering at the local watering hole.
Large herds of animals at predictable sites like watering holes made it a bit easier to plan my approach. We were always in vehicles, making it a little trying at times. When the scene was on the other side of the vehicle nobody wanted me clambering onto their lap to get the shot. But fifty percent of the time the scene was on my side and I was able to experiment with this approach. I started with single row images, comprising of four to twelve or more images taken from left to right. (making it easier to visualize when loaded into in my photo processing software). I mostly used a gymbal head mounted on a tripod and secured to the open-sided vehicle with a bungee cord.
When the animals were more stationary it made it a bit easier to shoot a sequence without the movement of animals making the stitching process flawed. Elephants and giraffes standing still were the best subjects.
Note how my first and last pictures in the sequence are index marker images. I use my thumb in the pictures to indicate this. Later in my workflow this makes it much easier to see all the images that make up a particular panoramic, especially if I am shooting single frame images at the same time. It also is a good conversation starter when onlookers ask why I always take pics of my thumbs.
On the move.
When the animals are moving, such as a herd of zebra around a watering hole, the whole process is more difficult. In this case, I had to shoot and look ahead at the same time. Quickly composing the images with overlapping areas in spots that had no animals, or at least more stationary ones, made for better results . As you can imagine this was a very fluid method and it didn’t always work out well. But by taking several sequences I usually got something I was happy with. Of course this wasn’t confirmed until I returned home and started stitching the images together.
I mostly use Adobe Lightroom for the stitching process and Adobe Photoshop for final touches. Surprisingly, Lightroom is able to stitch images quite well even when there is some movement, eg a zebra walking. It intuitively picks the best parts of the overlapping images and creates a good join. Only a couple times did I end up with an animal with five legs.
After I felt comfortable with this technique I started adding double row panoramics. To do this effectively I had to be careful to not have any animals overlapping into the row above, as the animals would have moved enough by the time I got back to that area in the second row.
One animal surprised me.
One animal that was surprisingly easy to photograph in this way was the mighty giraffe. I did not know this but, as gangly as they look, they actually stand stock still at times. Thus I was able to do some creative images with them, singly and in groups. Some fun images I created were vertical stitched images going up and down their bodies as they stood motionless.
This was a very fun and rewarding trial and I am very happy with the results. Of course a return trip is in the works to perfect this process!
To see all of these wildlife panoramic images go to
Good company in a journey makes the way seem shorter. — Izaak Walton
This website is an extension of my photography business to highlight my super sized large format panoramic images. I am addicted to photographing and showing the world in a way that shows the full scene in front of me but also captures the tiny details present. Whether its a beautiful scene from my home of Lake Wanaka in New Zealand, or a herd of Elephants roaming through the bush in the Okavango Delta in Botswana, or a lone Orca swimming down Johnstone Strait, the desire is the same- To show the world in an exciting and dramatic way.