Bat Photography by Merlin Tuttle

Revised for new technology by Tone Garot, June 2011

Merlin Tuttle is renowned for his pioneering efforts in bat photography, and much of what he wrote years ago remains true today. I was asked to update Merlin's “how-to” articles to reflect today’s digital cameras and technology. My edits are meant to supplement Merlin’s invaluable instructions, not to replace them. My words appear in blue.

In 1978 I wrote a chapter about bats for a National Geographic book, Wild Animals of North America. When I saw the photos that were going to illustrate my words, I was horrified. I had never considered the impact of bat pictures that were then typical. Most showed bats snarling in self-defense. Because of their shy nature and nocturnal habits, bats are exceptionally difficult to portray photographically as they really are in the wild. When first captured, they either try to fly away, bare their teeth in threat, or hunker down, eyes closed, anticipating the worst. Impatient photographers too often had held a bat by its wings, blown into its face, then snapped a quick picture as the bat tried to defend itself with a snarl.

So I began studying photography myself, and soon discovered that people's negative attitudes about bats could be changed in minutes upon seeing how fascinating and beautiful bats can be.

Equipment

(BCI's Publication Department prefers digital images in jpeg or tiff format. The most important factor is the resolution and size of the images. Preferred are high-resolution images of 300 dpi and a minimum size of 5" x 7". Images in slide format are accepted but discouraged.)

Today's digital camera technology has come a long way since 1978, and the advantages are great: no film/development costs; no chemicals; instantaneous review of images; no changing of film; high-speed photos without the need for auto-winder; the ability to capture shots in low-light conditions; and a host of post-processing software solutions.

Most professional photographers are using DSLR (Digital Single-Lens Reflex) cameras, although some photographers still use film cameras for certain projects.

Today’s professional digital cameras use a full-frame sensor, which basically means they capture an image that is the same size as a 35mm film frame. Many semiprofessional cameras use an APS-C sensor, which is smaller than the 35mm frame, which results in a smaller angle of view when using the same lens. While it is possible to get great images from a smaller sensor, one advantage of a full-frame sensor is a higher signal-to-noise ratio, resulting in better images at higher ISO settings and lower light.

Lens technology has also changed. Modern lenses auto-focus with quick precision, and image-stabilization (or vibration-reduction) technology allows longer exposures without camera-shake. It should be noted, however, that some old school lenses can attach to modern professional and semiprofessional cameras. You can buy very high quality used lenses, and while they may require manual focus and aperture setting, their affordability and quality make these an interesting alternative.

But before you go into debt buying a new camera body and fancy lenses, realize that the camera does not take the picture – you do. Superlative photos were taken decades ago with equipment that seems primitive by today's standards. As Brooks Jensen stated in a LensWork podcast, "Equipment is not the answer, nor is it the limitation." Merlin Tuttle took amazing photos with a camera that is now obsolete: Merlin took the pictures, not the Canon F-1 camera.

Like Merlin, I prefer prime (fixed) lenses rather than zoom lenses.

Digital cameras sold as a kit come with one or two zoom lenses that cover the focal ranges that consumers have come to expect. While zoom lenses are convenient for a wide range of conditions, such as shooting vacation photos, a bat photographer has a specific purpose and a specific shot in mind when he or she sets out.

The tradeoffs of a zoom lens are: less sharpness at certain focal lengths, generally slower (less light reaching the sensor) and higher cost. A $200 prime lens will often beat a $1,000 zoom lens in picture quality.

When choosing a lens, consider how you will use it. For low-light conditions, you will want a faster lens that transmits more light to the sensor. A 1:1.8 or 1:1.4 lens passes a lot of light to the sensor. Consumer-grade zoom lenses are typically 1:4-5.6, which is almost worthless for low-light conditions.

Taking pictures of bats is an exercise in patience: you spend a lot of time and effort to compose the perfect picture. In cases like this, choose an appropriate prime lens and go.

Back in the days of film, taking a good photo was often a betting game. If your exposure was off, the picture didn't turn out, and you lost the cost of the film and processing.

A light meter let you even the odds a bit by getting closer to the correct exposure based on lighting conditions.

All of today's digital cameras have built-in light meters that are pretty good, but light meters aren't nearly as important in digital photography as they were with film.

With a digital camera, you set up the shot based upon the internal light meter and your experience, then click the shutter. Next, you click "image preview" on the camera to view the image on the display. And most digital cameras, even cheaper point-and-shoots, will show you the tonality histogram – a graph of the image’s tonal range. Now you can change your camera settings (f-stop, shutter speed, ISO) based on actual tonal counts.

Merlin sometimes used a “Shutter Beam” device that utilized an infrared beam to trigger a lens with a built-in shutter quickly enough to photograph a flying bat before it moved too far past the beam.

Infrared-beam triggers are still an effective option, but technology has added a few new possibilities. For example, Nikon offers a wireless transmitter that lets you create a wireless network and connect your camera to it. With the software, up to five cameras can display images on a computer screen. Images can be downloaded and saved to the computer, and “Live View” lets you see the image remotely even before you trigger the shutter release.

While this doesn't necessarily take the place of a bat tripping an infrared beam, it does allow you to set cameras in likely bat locations, then hide at a remote site and avoid upsetting the bats.

I carry two of nearly everything electronic in case of failure, and my total traveling equipment weighs approximately 200 pounds, exclusive of personal effects.

Techniques

I work under natural conditions when convenient or necessary but typically rely on a studio setup in a small room where I use many flash stands, velveteen, etc. to create sets. This is always done within a short distance of where the bats live in the wild to ensure set authenticity.

The key to my success is tremendous patience, years of experience working with bats and an ability to tame and train them. Many are trained to catch prey or visit fruit or flowers only on command, to approach from a specific direction, etc. There is no standard means of training bats, though an important element is extreme persistence in staying up all night with them night after night in an enclosure until they accept me as harmless and learn to feed from my hand. Then they are rewarded for doing as I wish.

People often want to know how to make sure each shot is good in order not to waste film. The answer is that it can't be done. I very carefully test every kind of exposure I intend to make before a trip, if for no other reason than to refresh my memory prior to each trip, and always keep permanent notes on the results. Even so, bat photography can be extremely difficult. I shot 5,000 to 6,000 frames for each of my first three National Geographic articles. In fact, the one on epauleted bats courting (see April 1986 National Geographic) required roughly 600 frames to get one that was just right. Under such circumstances, there is almost no room for bracketing, since it is already so difficult just to get the bats at just the right position and moment.

In general, I try to take close to a hundred shots of anything involving high speed action of prey capture, flower pollination, special behavior, etc., before assuming I have what I want, even though I almost never bracket more than half an F stop. The reason for this is that one can never predict accurately the exact wing position, facial expression, etc. when working at the very high speeds required.

Planning Your Photo Shoot

First, use quality equipment and become familiar with your camera and accessories well in advance of your trip. Review your manuals and shoot test rolls in the anticipated variety of lighting situations so that you'll know exactly how your camera will perform. In most situations, point-and-shoot cameras will not take the crisp, high-impact photos BCI needs.

Note: Today's point-and-shoot cameras have come a long way in the digital revolution. A high-end point-and-shoot (in the $350 to $500 price range) has the same controls as a DSLR. It does not, however, allow replaceable lenses or through-the-lens viewing.

While I am not advocating photographing bats with a point-and-shoot, I usually keep one handy in my shirt-pocket – even while toting my DSLR. A photographer once told me: “The best camera in the world is the one that is with you.” Today's point-and-shoots are great for preliminary (scoping) shots, mine/cave entrance shots, taking pictures of insects inside caves, shots of researchers studying an object, etc. Merlin lists several examples of where a point-and-shoot might augment your DSLR.

So although a point-and-shoot will never replace your DSLR for production photos, you might get a photo that you wouldn't have gotten otherwise. That makes it worth carrying in a pocket.

Before going on a trip or to your study site, plan a list of pictures that will best illustrate your subject. An ideal set of pictures tells the story visually with little explanation. Write the list down and methodically look for opportunities to check off each photo during your time on location. Do not wait until late in the trip to begin taking pictures or save the most difficult for last. You may have appropriate lighting for a certain picture only once or twice on an entire trip.

For example, if you were planning photos of a mine gating project (see photos on this page), your shot list might include:

- Demolition of an inappropriate mine gate.

- Partners and contractor reviewing plans.

- Helicopter or heavy equipment moving steel onto the site.

- People working together to move steel into place in front of mine shaft.

- Wide angle shots showing mine shaft in scenic context or with old mining works in the background.

- Tight shots of the project to show details of people working.

- Media interviews in front of new gate.

- Final shots of completed project with partners and/or contractors.

- Special attention to participants in action.

This shot of a gating project shows the placement of the steel and workers in action. Photo by Jim Kennedy.

Composition

Always know why a given picture is being taken, and plan the framing and composure to enhance the intended message. Pictures should tell a story, so be sure each one shows the activity in a self-explanatory fashion. The photograph should not have to rely on the caption to explain what is happening.

Candid shots rarely work. It may sound like a lot of effort to set up a specific shot, but in the end it saves time and frustration. Simply pose people doing what they normally do. Some good reasons for posing your subjects are:

- to improve lighting

- to improve background separation (contrast)

- to prevent confusing arrangements or people looking away

- to better illustrate a given activity

Posing doesn't mean that people should look at the camera. It simply means that you should seek the best possible view of your subjects and leave no unnecessary items in the composition. Plan your images the way an artist would plan a painting. For example, if your picture shows someone at a table, be sure the table is cleared of all extraneous materials, such as soda cans, then set up only those materials that lend credence to the subject, and be sure that all the important parts are visible. Then have your subjects start moving, talking, etc., just as you shoot, so the picture doesn't look stiff.

In some photos the photographers attempt candid shots. Inevitably, some of the people are looking out of the photo, are wearing inappropriate clothing or have hats that block their faces.

In this photo, the photographer carefully selected and positioned visitors to the site. Note how each person is focused on the bats, with interested expressions. Photo by Merlin D. Tuttle

Lighting And Framing

Today's post-processing software gives considerable flexibility with regard to image touch-up. It should be noted that although today's post processing software is very powerful, it does not replace good photography. Garbage in still equals garbage out. Try to get the photo as perfect as possible inside the camera first, then use the software to enhance as necessary.

Include as many different types of shots as possible: close-ups of people or bats, as well as medium and distant shots that show the setting, habitat and activities. Vary the backgrounds, lighting, etc. You may need a tripod and assistant or timer to get in the picture yourself if necessary. This is especially important for grant and scholarship recipients. We need action shots of you in the field!

Pay attention to background. A distracting background can ruin your picture.

Show people working. Have them look official wearing a uniform, using tools, writing in a notebook, holding a bat, etc.

If you take a picture of a person holding a bat please be sure that person is wearing a glove on the hand used to hold the bat. We want readers of our publications to understand that bats are wild and should be handled with caution.

Try to avoid white objects and clothing in your photos. Too much white will throw the color contrast off for the rest of the photo. White t-shirts especially should be avoided.

Take close-ups. For example, if someone is examining or caring for a bat, shoot just their face with their hand and the bat, not the view of their whole body. Be aware that in close-ups, you will want a very tight crop, so you should have the person hold the bat really close to their face. The close proximity may seem unnatural or uncomfortable for your subject, but should be about right for your photo.

Include shots that show the local culture. Clothing, architecture, and signs in other languages are all good ways to depict different cultural settings.

Quick Composition Checklist

- Make a list of shots you want. Plan each image to be sure the picture tells a story. Get a variety of shots, including close-ups and wide-angles, verticals and horizontals.

- Pose people to show them working, wearing uniforms and holding pertinent props. Show bat handlers wearing at least one glove. Avoid backsides.

- Have people wear colors minimal white. When necessary, situate anyone in black near the front, and white near the back.

- Move extraneous objects out of the scene (camera bags, vehicles, drinks, etc. But remember that vehicles or other things with official seals and emblems can often help tell the story.)

- Use basic framing rules of composition: Rule of Thirds; Subjects Looking into Scene; Leading Lines; Awareness of Background.

Framing

Rule of Thirds: Do not center the primary subject. It is best to have it faced into the picture about a third of the way in, so two-thirds of the photo is in front of the subject. Subjects can be toward the bottom, top or side, but always should look or face into the remainder of the frame. Also, if the horizon is in the picture, make sure it does not cut the scene in half. Move the camera position so that the horizon line is in the top or bottom third of the photo.

Subjects Looking into Scene: When photographing people, always be sure they are looking into, never out of, the picture. A frame with two or three people all looking at the same thing helps focus viewer attention.

Leading Lines: Be aware of geometry. Use natural lines to lead viewer attention to the center or to the main point of interest in each picture. Skylines, clouds, branches, beach edges, trails and roads all provide lines. Using a wide angle lens often helps to take best advantage of lines.

Awareness of Background: Always be aware of the background. Try to keep it plain or out of focus, unless it is specifically intended to help tell the story. A telephoto lens can help to keep the background out of focus. Deep shadows behind well-lit subjects will do the same. A confusing background will destroy nearly any picture.

Many photography "how to" books, courses, and articles mention the infamous Rule of Thirds followed immediately with how you shouldn't always follow the rule. It's rather amusing because they all do it. Perhaps it should be called the "Suggestion of Thirds."

Photography is a very subjective and often artistic pursuit. Sometimes a shot just "works" even though it doesn't follow, or is contrary, to any "rules."

Still, I am a firm advocate that you must know the rules before you break them. Be aware of the above when shooting your photos.

Lighting

Good lighting is a critical element in all good photography. Take pictures as much as possible in early morning, late evening, open shade, on slightly overcast days (unless you need to show the sky) or when a cloud passes over.

Avoid photography on heavily overcast days or in very bright situations, such as full midday sun. If there are large areas of shadow and bright light, a good photograph is nearly impossible without the use of flash or other fill lighting.

If a picture must be taken in a relatively high-contrast situation, position the camera or subject in a manner that strongly emphasizes only the lit area or the dark area, and shoot for the dominant lighting. It is perfectly acceptable to have strong highlights and shadows as long as they take up only very small "rim" areas of the picture that help to separate the subject from the background.

Good lighting can help create three-dimensionality. Areas of light and dark (within contrast limits) in the foreground or behind the subject can be very pleasing.

Camera light meters can break or stop working without your noticing. Be sure you have spare batteries, and occasionally check the meter. To check, aim the camera at clear blue sky (not hazy) with it set on ASA 64, 1/125th speed, lens at infinity, and take a reading. The reading should be very close to f/11.

Photo by Jim Kennedy

Other Important Tips

Depth of Field. In general, you should focus toward the front of the picture, because there is twice as much depth-of-field behind your point of focus as in front.

Tripod. Modern lenses have vibration reduction (VR) technology, also known as Image Stabilization (IS). This allows you more flexibility with the shutter speeds mentioned above. This technology, however, is not a replacement for using a tripod.

When using a tripod, turn your VR/IS off. In theory, you should be fine, but you may notice that you aren't getting the tack-sharp images you desire. Also, the VR/IR on some lenses takes a finite time to "kick in," thereby slowing down your process.

Protecting Images. Today's “film” is actually a memory card. An 8GB card can hold more than 300 RAW images. This is amazing considering how few frames a roll of film once held.

A word of warning: memory cards can fail. It doesn't happen often, but it does happen, even when there is nothing physically wrong with the card. Fixing the card is easy enough: just reformat it. However, you just lost potentially valuable images.

A wedding photographer once told me her secret for protecting her irreplaceable images: don't buy the biggest memory cards available. She uses five or six 8GB cards during a wedding shoot instead of a single 64GB card. Not only are smaller cards usually cheaper, but if one card goes bad, she still has five more cards full of images!

Also, make backups of your images as soon as you can. In the field, I immediately dump all of my images to a laptop when I return to camp, then copy them to a separate drive. After that, I can reformat the memory cards for the next day’s photo shoot.

Incidentally, I have never had lost images due to airport screenings.

Some Additional Tips

Bats are beautiful, likable animals, needlessly feared by the public. Please do not contribute to existing misunderstandings by publishing pictures of bats snarling in self-defense, because they are being poorly handled. I also avoid most shots of bats flying straight toward the camera with their mouths open echolocating. To the layman who does not understand, such pictures look aggressive. I am happy to be of assistance, but please return the favor by making every effort possible to present bats as the important and likable animals that they really are. Also, if publishing photos, please be careful not to allow use with articles or captions that further misinform the public about bats.

Thank you for your interest in bats and my work. Good luck with your personal photographic efforts!

References

Tuttle, Merlin D. 1982. "The Amazing Frog-eating Bat." National Geographic, 161(1): 78-91.
Tuttle, Merlin D. 1986. "Gentle Flyers of the African Night." National Geographic, 169(4): 540-558.
Tuttle, Merlin D. 1991. "Bats -- The Cactus Connection." National Geographic, 179(6): 131-140.
Tuttle, Merlin D. 1995. "Saving North America s Beleagured Bats." National Geographic, 187(8): 36-57.

For Further Reference

Every photographer, whether amateur or professional, can benefit from a regular review of their equipment manual and a good, basic photography book. The National Geographic Photography Field Guide by Peter K. Burian and Robert Caputo, offers a review of the elements of good photography, as well as suggestions for more advanced approaches.

Last Updated: Tuesday, 02 August 2011