Evening star. [volume] (Washington, D.C.) 1854-1972, 1951-03-11

moats. And backgrounds as near
like the original habitat as pos
sible have been arranged to pro-
vide natural settings for the ami
rnals. This, of course, has been
a great boon. to photographers
who wish to make pictures Of the
denizens of jungle, mountain and
desert in surroundings that will
make the snapshots appear az
though taken on an actual safari.
Even the cages and glass COM
partments that are inside the ZOO
buildings have skillfully painted
backgrounds that can be included
in your picture to heighten the
effect.
The main thing is to keep those
bars out of your picture. There
are several ways to do this. The
most apparent, we think, is to
stick the lens of your camera be-
tween the bars Of the cage while
angling your camera so it doesn't
pick up those on the other side.
Danger in Getting Too Close.
Now, while this may be the
simple way to bypass the bars, it
is also an extremely dangerous
practice unless you are accom-
panied by a ZOO keeper who will
tell you when it can be safely
done. Many of the animals have
been in those cages for years and
know by long experience that
they can pounce from one end OF
a cage to the other in the twink
ling of an eye. A sleeping" ocelot
or jaguar can take off a finger or
even a hand while you are busy
working with a camera that is
within reach of flashing claws and
teeth. So don't let the peaceful
appearance of a Gagged wild ami
NAL fool you into getting too
close.
Instead you can work at safe
distance and accomplish just as
much as if you had your camera
inside the cage. This, of course.
can best be done with telephoto
lens. Then you can "get right
inside" with a tiger or lion and
still keep the bars between you
and the beastie. If you use the
telephoto lens. you should have
your camera on a tripod.
Even though you do not have q
telephoto lens, you can still go
after close-ups if you are careful
to see that your focus is critically
sharp. If the animal is too far
off to fill your finder you can still
go ahead and shoot the picture.
Then develop the film in fine
grain developer and if the picture
was shot needle-sharp you can
enlarge from the small portion Of
the film containing the animal
and still not get an Objectionable
amount Of grain.
Food Rouses Them.
Just as with your animal pets
at home, the zoo denizens will re-
act photogenically to their favor
lite foods. Therefore if you find
your subject snoozing or other
wise Indifferent to your efforts to
take his picture you can usually
get reaction with choice morsel
of food. This can only be under
taken when permitted by the zoo
authorities. You will likely find
by inquiry that certain animals
can be fed by the visitors while
others may not. At the same time
you can ask what foods are favor
ties among the animals that can
be fed for while a lettuce leaf
might appeal to a rabbit it
wouldn't even bring a yawn from
some of the meat eaters.
Monkeys, bears and seals are
the favorites of most photogra-
pliers for these canny animals
have long since learned that people
will respond to their repertoire Of
tricks with an unending supply Of
peanuts and other tasty morsels.
Monkeys. in particular. have
caught on to the fact that people
are greatly amused by their tricks
and, being showmen at heart, will
mug and perform for your camera
just as long as the supply of food
holds out.
AS final pointer. If you are try
Ing to photograph an animal that
Is restless and constantly moving
about you can focus your camera
on a particular spot that he fire.
quently hits in his travels and
snap your picture when he reaches
that point.