Why and How: Photographing the Bugle of Deer in Black and White

You may have just finished a photo project dedicated to deer slab. This is a highly photographed autumn event for many European wildlife photographers.

Have you tried to create a series of black and white deer photographs?

In this article, I will give you reasons for exploring this artistic creative technique.

A photograph in black and white of a red deer stag during the bugle in France.

Page 1

Black and White Is Well Adapted to the Bugle of Deer
The Advantages of Photographing the Bugle of Deer in Black and White
The Photo Gallery
Advantages to Photographing Stag Deer During the Bugle
How to Photograph the Bugle of the Deer in Black and White?
Finally

Black and White Is Well Adapted to the Bugle of Deer

Like many wildlife photographers, you may think that the bugle of deer must be photographed in a naturalistic way. Indeed, it is an animal behavior that takes place when the foliage is colored in warm tones.

You want to show stag deer in colorful decorations that serve as a showcase. It is quite commendable. I can perfectly understand this reasoning.

It is tempting to want to create behavioral illustrative photographs to illuminate this extraordinary event.

However, hundreds of thousands of color photographs have already been made. Why try to redo what has already been done?

Why not try black and white? Why not step out of your comfort zone and try a new photographic approach?

Indeed, the advantages of black and white photography are numerous:

It allows you to immediately focus viewers’ interests to the subject of the scene.
Black and white allows you to deliver messages in a direct manner. Your viewer is not distracted by the mesmerizing effects of color, rather he is immediately drawn to your creative technique of black and white.
Black and white allows you to return to the essential values of photography. You must manage your contrast, shapes, and textures. You must pay close attention to details.
Black and white is timeless. Color photographs are more subject to modern trends. When we look at color photos, we are always able to locate the subject and grasp the purpose after spending time studying details. This is not always the case with the black and white photo.

From this list of advantages, you can see that the bugle of the stag deer is shown in black and white.

The Advantages of Photographing the Bugle of Deer in Black and White

Besides its pure and creative technique, photographing in black and white can reveal attitudes and behaviors of the stag deer that might be overlooked if the same image was shot in color. When black and white is used, details and expressions are more noticeable.

A stag deer has its winter coat, which is darker and thicker. In the black and white photographs, the textures are silkier.
The antlers are dry unlike the birth fawns where the woods are velvet. In black and white, the antlers are textured and detailed.
On some antlers, the white tips add contrast to the photo. The form of the stag deer is best suited for black and white.
During the rut of the deer, you can watch the deer fight for power over a herd. These fights always take place in meadows, where the scenery is lighter than in the forest or the woods.
It is possible to create more refined photographs by strongly highlighting the combatants. The fights are perfect for black and white.
You can also photograph deer bugling. The image of the deer bellowing with tremendous force are images that have many connotations. If you have chosen your blind or if you have made a near approach, you can take close-up shots of this majestic scene.

You may even have the chance to see the drip, which is a small hole under the eyes containing a gland that allows him to mark his territory during the rut.

Likewise, hair on the throat is more developed at this time of the year. It is thickly distributed with a darker color. It is the part of the body that accentuates a powerful effect on the deer.

In black and white, the body of the stag deer can be well highlighted.
You can photograph stag deer surrounded by does. Usually, stags and doe do not mix. During the bugle, herds of animals are formed. Each stag tries to gather some hinds that he will cover. A group of stags and does is called a herd.

In black and white, these scenes are interesting because you can intricately display the beauties of the coats. You can also accentuate the size of the stags compared to the does.

The Photo Gallery

Advantages to Photographing Stag Deer During the Bugle

Photographing stag deer during the bugle has several advantages:

You can easily guide yourself through the nature whether it is in the meadows or the woods, listening for the sounds of the slab. Just listen to where the animals are. The slab is a very hoarse and powerful scream. You can hear it from hundreds of feet away.

Usually, it is difficult to locate stag deer by ear. They are silent and calm animals. To find them, you must know the flow of their habits.
If you do not hear stag bugling, you just need to spot fruit trees such as oaks and wild apple trees. The food is abundant, easy to find on the ground, and is more appetizing than the grass of the meadows. By locating these trees and setting up a suitable blind, you will soon have many chances to capture beautiful pictures.
During the bugle of deer, you will be spotted less easily than during the other months of the year. Indeed, the master of the place is preoccupied with keeping his rivals at a good distance from the herd. He constantly chases potential suitors who would like to steal a doe. If you make an approach and you are in your blind, even if you make the mistake of making noise, the herd will remain in the same place. The deer will not worry about you.

How to Photograph the Bugle of the Deer in Black and White?

As I described in this article, there are three methods to photograph the bugle of the deer:

Using a blind.
Approaching by crawling on the ground.
Walking.

To make interesting and creative black-and-white photos during the bugle, I recommend that you explore some rather unobstructed areas where there is less bushy foliage so that your images will emphasize the beauty and majesty of animals.

Avoid photographing in the undergrowth of forests because these places rarely produce clean images. Tree trunks or branches can become disruptive elements that may attract the attention of viewers away from the subject. Instead, choose simple and uncluttered scenes such as meadows or clearings. Try to isolate your animals. Your black and white photos will have more impact.

If you have never tried photographing with a morning blind, I recommend that you step out of your comfort zone and try using it. Before the day of shooting, explore your region and search for a path or clearing that is free from unwanted animal messes or uneven terrain. Prepare your blind with a tent. On the day of shooting, be prepared one hour before sunrise. Since you have spotted your corner before, you will have no problem moving in the dark. A group of stags or a herd may detect you, but they will not be able to see that you are human in the darkness.

Once you are positioned in your blind you must wait for the perfect moment, one which you will never forget. When the sun begins to rise, you may spot a herd or a stag. Wait a bit before shooting your first pictures. Take time to immerse yourself in the scene. I guarantee that it will be an extraordinary experience.

Finally

Step out of your comfort zone. Dare to paint with black and white in your canvas of photographing the bugle of the deer. You will be surprised by its effect on your creations. Remember to choose scenes that respect the spirit of black and white. Allow the power of your imagination to spark new ideas. Get off the beaten track. Embrace the technique of black and white.

Click Here To See Black and White Fine Art Print Collections.

Being Able to Judge Your Own Photos Is a Quality to Be a Good Photographer

Photograph in black and white of a serval in Kenya.

Quality 28: "Listening to the World Around You"

If you think you are a good photographer, you have certainly discovered that you listen to the world around you as if you were an actor in a movie scene, or a figure captured in a photograph.

You may analyze each photographic element to decide if it is balanced with harmonious and unique compositions or if it repeats the works of others.

This quality of symphony with the outside world is, in my opinion, an essential quality of a professional photographer. It is often called "measuring the temperature" of the world around you.

Quality 29: "Knowing How to Judge Your Own Photos"

A good photographer understands the importance of analyzing and judging images.

I often meet photographers who strive to share their opinions on the photos of others. When I ask them about their own photographs, they are unable to complete a similar analysis.

Nevertheless, this is an essential quality. You must be able to analyze an image immediately after it was taken. You should be able to analyze the composition, the framing, and the impact of the photo on the camera screen and on the computer.

In performing a deep, objective, and uncompromising analysis, you will be able to improve your vision and signature in your next photo session. You will have a more structured perspective when deciding which images to keep and which images to remove when formulating a series with a focused meaning.

By developing this quality, you will save a lot of time in the field. Indeed, you will be able to quickly choose and set up each photographic element in your scene so that it perfectly transmits your messages and emotions.

Quality 30: "Developing Your Sense of Observation"

A good photographer must have a keen sense of observation. Living in with empathy is certainly a necessity for any individual, but it is not enough for a photographer.

You must be able to observe everything that is happening around you so that you can truly seize the decisive moment that is so dearly mentioned by Cartier-Bresson.

This is commonly known as the “photographer's eye”.

The “photographer’s eye” is the ability to quickly analyze a scene and identify key photographic elements which intricately support the point of view, composition, and framing.

You may already have this innate ability, just like many other photographers. However, I am convinced that this photographer’s eye can be developed by anyone who has a desire for it, so long as they adhere to consistent work.

This is how some photographers can still create exceptional photos even if they use a medium-range camera.

Quality 31: "When Your Collections Do Not Meet the Desired Audience"

A good photographer succeeds in creating collections of photographs that have impact, meaning, and consistency.

However, like all human beings, the photographer is fallible. Sometimes you may create collections of photos that do not meet your desired audience.

These are constructive failures that are wonderful opportunities for growth. The best way to learn may be from examining a failure. To rise again, you should analyze the reasons, correct any mistakes, and rebound by beginning new collections.

To create a collection of photos, it might be interesting to approach a new photographic style. As this approach is certainly avant-garde, it might be difficult for a viewer to understand what has been created. Nevertheless, the collection may simply lack interest.

A good photographer never feels sorry for himself. He must keep moving to explore new ideas and venture further into new ways of expression through photography.

Quality 32: "Striving to Be Unconventional"

If you want to be a good photographer, you must be unconventional.

Stepping out of your comfort zone is not enough. Seeking inspiration in new directions is not enough.

New sources of inspiration do not equate with copying and creating what is fashionable.

To be unconventional, you must have solid photographic foundations and master your technique perfectly. Then you can create digressions, thus changing the rules and creating aesthetic images with a deeper meaning.

You must always think differently. You must escape conventions and habitual routine. You must not fall back onto what has already been done in photography.

Never be afraid to fall. Failure naturally follows when one initially explores new concepts.

Quality 33: "Relying on a Rigorous Methodology"

If you want to become a good photographer, you must adopt a rigorous methodology that can be used in the field or during the development of your images.

The methodology allows you to limit wasted time and unnecessary questions, allowing you to focus during critical moments.

The methodology allows you to define your photographic approach and to be guided by your creativity goals.

For example, in wildlife photography, it is essential to have a list of all your accessories for shooting on the field. In landscape photography, if you take long-exposure photographs, you may need an application or a chart to calculate the correct exposure speed based on your filter.

During our organized photo workshops, I usually repeat that the more methodical one is, the more creative one is.

Indeed, if your time is optimized, you are less likely to lose it. All your time spent will benefit your creativity.

Quality 34: "Enriching Yourself with Experiences"

To become a good photographer, you must enrich yourself with experiences. Experience allows you to easily adapt to new situations.

It is in accepting these new experiences, that you will enroll in a photographic and artistic creative process.

The acquisition of new experiences will allow you to anticipate events that may occur during the sessions of your photographic projects. By anticipating events, you can stay focused on the essentials without having to deal with unnecessary details.

Quality 35: "Grasping the Main Photographic Element"

A good photographer can identify the main photographic element of a scene. He must also understand that this element is not necessarily the subject of an artistic photograph.

Never forget that when you create an artistic photograph, your main subject is important, but you should focus on the emotions or messages you want to convey through it.

Quality 36: "Revealing Your True Photographic Identity"

A good photographer always reveals his or her true photographic identity.

Defining your photographic identity will allow you to say who you are, who you wish to be, and how you desire others to perceive you, regardless of whether they are photographers or not.

Your photographic identity will define how you see the world and how it sees you.

Defining your photographic identity allows you to list the artistic data that individualizes your artistic approach.

It is a bit like your administrative identity with your physical characteristics, your date, and your place of birth.

A photographic identity allows you to individualize yourself, to step out of the mass of photographers, to ensure both your singularity and your artistic individuality.

Finally

This exhaustive list of qualities that a good photographer must possess may seem long and difficult to grasp. Nevertheless, it works. You must simply devote some time to assimilating each of these qualities.

If I had to summarize in a few words what is most important, I would say this:

A good photographer has a photographic (and artistic) approach that is clearly and perfectly defined. He has a true photographic consciousness. He knows how to create a coherent and consistent collections of photographs that timelessly speaks the photographic language. He knows how to tell stories that will be remembered by his viewers.