
In my Yearling in Flowers post earlier this week, I told the story of a extraordinarily considerate dump-truck driver who alerted me, last Saturday morning, to three deer feeding just down the road from where I was at the time in Acadia National Park. You have seen the Yearling. Here are the two adults, one clearly pregnant with this year’s fawn. The deer, while aware of my presence at the edge of their field (though I attempted to blend into the bushes at the edge of the road as much as possible) were not overly concerned, and I enjoyed one of those peak moments for a nature photographer, when everything just came together: light, subject, foreground (I love the flowers), and background, to create a memorable experience and memorable images. One of those camera-don’t-fail-me-now moments.



Canon SD1400IS Digital Elph behind the eyepiece of a ZEISS Diascope 65FL spotting scope for an equivalent focal length of 1500mm (top three) and 3500mm (bottom). Exposures ranged from 1/125 at ISO 125 to 1/200th at ISO 200 (last shot). Programmed auto. The combination of the little pocket digital point-and-shoot camera and the spotting scope allows for these intimate portraits from distances that leave the wildlife pretty much undisturbed.
In Lightroom 3, some Fill Light and Blackpoint right (which with this camera and scope combination introduces way too much yellow, so Auto White Balance to restore the tones), added Clarity and a tiny amount of Vibrance, Sharpen narrow edges preset. The last two images are cropped for composition.
From Acadia 2010.

Sieur de Mont Springs, at Acadia National Park features the Wild Gardens of Acadia maintained by local volunteers. In a small corner of the grounds they have recreated all of the major habitats, from the bogs to the peaks, on Mount Desert Island and planted them with representative plants. Few plants are more bazaars than the Pitcher Plant. Bog dweller. Carnivorous. Strange in shape. And with a particularly complex (looking) flower structure. This is the bloom. I got down practically to ground level to shoot low enough to see into the flower head, using Macro and the long end of the zoom on the Canon SX20IS. Generally what you see is more like the image below, also taken from a distance with the tel zoom, this time because they were in a wet area with no direct approach.

Canon SX20IS. 1) 425mm equivalent @ f5.0 @ 1/500th @ ISO 200. 2) 560mm equivalent @ f5.7 @ 1/400th @ ISO 400. Programmed auto.
Recovery for the highlights in Lightroom 3, some Fill Light and Blackpoint right to extend apparent tonal range, added Clarity and Vibrance, Sharpen Narrow Edges preset.
From Acadia 2010.
This looks to me to be a late season fawn from last year. It was feeding with two adult female Whitetails, one of which was obviously pregnant.
There is a story behind the images. I was 90 minutes early for a bird walk I was coleading last Saturday at the Acadia Birding Festival in Acadia National Park (misread the schedule), so I shouldered my digiscoping rig and was hiking along the shoulder of the road between the Seawall proper and the Seawall Campground entrance, looking for cooperative birds. A huge, industrial scale, white dump truck approached at speed, and hit is hydraulic breaks hard just as it came parallel with me. It literally skidded to a stop about 100 feet beyond me, and this huge hairy arm dropped from the driver’s window, up there 10 feet in the air in the cab, and snapped its fingers. I could see the driver looking at me in his rear view mirror. He was a dump truck driver: sleeveless tee, a bit tattered and smudged, beard and a fringe of longish hair around a bald plate. Big as his truck and just as tough. He snapped his fingers again, and, getting impatient, jammed his truck into reverse and started back. I hustled over.
“Hay,” he said, “There’s deer in the field about 200 yards down the road on the left, right out in the open. Great shot!” And he grinned and nodded. “Well thank you,” I said, and he jammed into first and rumbled on.
Humm? Deer? Whitetails would be nice, but, honestly, what were chances of 1) their still being visible when I got there, and 2) their not running off as soon as they saw me?
Still, nothing ventured, nothing gained. So I hurried down the road, trying to remember where the first open meadow was, and wondering if I would be able to see the same deer from road level he could see from 10 feet up in his cab? Turned out to be closer to 400 yards, but eventually I came up to an obvious meadow opening on the left. I could not see any deer from the angle I had. I crossed the road and edged up to the last blocking shrub and peaked around into the meadow.
And, of course, as you can guess from the images above, there they were: the two adults and this obvious yearling, the two adults together and this guy ranging ahead of them further into the back of the meadow.
So, down tripod, up scope, focus, camera in, camera on, zoom to eliminate vignetting and take the first shot. (Not one of the ones above 🙂 ) I was able to work the three deer for 20-30 minutes, taking hundreds of exposures. The light was great: gentle under light cloud cover. When I had enough to think I might have some keepers (my rule is 10 exposures for every keeper you hope for) I backed away and left them to their feeding. When I passed in the car 30 minutes later they were gone.
So, I want, right here, to thank that dump truck driver for the extraordinary kindness of stopping his rig to tell me about the deer he had just seen. I never would have known.
Canon SD1400IS behind the zoom eyepiece of a Zeiss Diascope 65FL for an equivalent focal length of about 2200mm (first two) and 3400mm (last one). Exif f5.9 @ 1/200th @ ISO 160 and 200. Real f-stop closer to f12 (based on the scope).
In Lightroom 3, Fill Light and Blackpoint considerably right. Added Clarity and Vibrance. Sharpen Narrow Edges preset. Auto White-balance to remove yellow cast.
And, once more time. Thank you.
Along Parson’s Way in Kennbunkport, headed out along Cape Able, across from St. Anne’s Church, there is a Passion Vine that spills out of the dark corner of a yard and overhangs the sidewalk. After several days of rain and wind these blooms are looking a bit ragged, but still brave. There is a parable in there somewhere.
Canon SX20IS at about 160mm equivalent and macro for framing. F4.5 @ 1/100th @ ISO 320. Programmed auto.
In Lightroom 3, a touch of Fill Light and barely any Blackpoint right, added Clarity and Vibrance, Sharpen narrow edges preset. Auto White Balance was needed to warm this deep shadow shot.
From Around Home 2010.

[Thanks to Dan Huber who came through almost instantly with the ID!]
Though I have searched my references and the internet I have not been able to identify this flower, two isolated clumps of which were growing in fairly deep forest along a path at Laudholm Farms in Wells Maine. It reminds me of a lot of different flowers but is not them. 🙂 The deeply forked petal structure and the color should be distinctive. ?? I am certain when someone names it I am going to go “Of course!”
Another view. This time hit by a shaft of sun.

Canon SX20IS. Both at 28mm and Super-macro. F2.8 @ ISO 100. The shade shot at 1/160th and the sun shot at 1/400th. Programmed auto.
Similar processing in Lightroom. Fill Light, Blackpont right, added Clarity and Vibrance. Sharpen landscape preset. The shade shot required auto white balance correction in Lightroom to warm the overly blue tone. It was also cropped slightly for composition.
From Laudholm Farm.

This is a pretty straightforward shot. My wife planted these Iris several years ago. Nothing. Then this year, boom. Tall and beautiful and full flower. Early morning sun brings out all the richness. A long tel macro setting at about 550mm, from 4 feet away, isolates the bloom against the background.
Canon SX20IS. F5.7 @ 1/320th @ ISO 200. Programmed auto.
A touch of Recovery in Lightroom (mostly for the background). Some Fill Light and Blackpoint right. Added Clarity and just a tiny amount of Vibrance. Sharpen landscape preset.
And for the alternative view: more or less the same shot at 28mm and Super macro from centimeters away. This plant is in open shade, not full sun.


Laudholm Farm manages old farm lands, as you might guess from the name, and the open meadows are home to all kinds of plants…both native and foreign. This is English Plantain, which is a weed in a yard, but part of a natural and nutritious mix of plants in a meadow. Song-birds eat the seeds (it is actually grown commercially for cage bird feed). Rabbits love the leaves. One man’s weed is another man’s treasure.
Canon SX20IS at 28mm equivalent and Super-macro. Lens-hood touching the stem and the flowers inside. F4.5 @ 1/1250th @ ISO 160. Programmed auto.
And here is another view.

This one at F4 @ 1/1250th @ ISO 80. This one, to me, has a feel of the open prairies…though it is only a hill top meadow in New England.
Both processed in Lightroom using my standard touch of Recovery, Fill Light, Blackpoint right, added Clarity and Vibrance and Sharpen landscape preset.
From Laudholm Farms.
Rugussa Rose, or Beach Rose, is an invasive plant all along the seaside in the northeast: so typical of the dunes in New England that most people assume it is native and natural. This is Parson’s Beach in Kennebunk, Maine, while I was out early one morning last week to digiscope Song Sparrows and Yellow Warblers, who feed and nest in fair numbers in the roses and Honeysuckle of the dunes. The dew had just touched this rose, and was not going to last long.
Somewhere in there is a reason why this might be an appropriate image for Memorial Day.
Canon SX20IS at 28mm equivalent and Super-macro. F5.6 @ 1/30th @ ISO 80. Programmed auto with Exposure Lock and Program Shift for greater depth of field.
In Lightroom, some Recovery for the highlights, Fill Light and Blackpoint to the right. Had to be careful with the blackpoint which tended to block up deeper pinks of the rose really quickly. Added Clarity and and a touch of Vibrance. Sharpen landscape preset. Cropped from both sides for composition.
From Around Home 2010.
We only have one Rhododendron bush in our yard…which is far below par for southern Maine. We have, over the years, planted several more, but none of them took. So maybe we enjoy our single bush all the more. This is an open shade shot, early in the am. I used the Super-macro setting which locks the lens at 28mm equivalent, and exposure lock and program shift to put the f-stop at 5.6 for greater depth of field. (The lens was just about touching the forward reaching stamen.) That put me at 1/20th of a second for exposure, but the Canon’s Optical Image Stabilization handled it well, even sans-tripod.
And if I tell you it was at ISO 80, and Programmed auto, that is all the technical data already.
A touch of Fill Light to compensate for Blackpoint right for extended contrast, added Clarity and just a tiny amount of Vibrance. Sharpen landscape preset. Auto White Balance to remove the blue tinge of deep shadow.
From The Yard, Kennebunk ME.
While this gives the impression of a veritable jungle of purple blossoms and green stalks, it is actually quite a small patch of chives in flower in our garden out back. The low angle facilitated by the flip out LCD on the Canon SX20IS, combined with the 28mm equivalent Super-macro, transform the mundane into the exotic. The chives were in deep shadow, early in the morning, with the sun already on the lawn beyond the sheltering trees. Composition and placement of the plane of sharp focus is critical to the success of this shot. I wish I could say I did it on purpose…but I just shot several exposures and selected the one that works best in post-processing triage. 🙂
Canon SX20IS, as mentioned, at 28mm equivalent and Super-macro. F2.8 @ 1/50th @ ISO 160. Programmed auto.
Recovery in Lightroom for the highlights in the background. A touch of Fill Light for the flowers, Blackpoint to the right. Added Clarity and just a bit of Vibrance. Sharpen landscape preset. Finally, the tricky light made the chives too purple. Auto White Balance in Lightroom brought them back to reality.
From The Yard, Kennebunk ME.