Fairly new to photography when I got the above capture of a Merlin strafing songbirds at the spruce grove in Chignik Lake, I was somewhat frustrated with my inability to get the bird “tack sharp.” I was shooting with a 200-400 mm telephoto lens at the time, to which I often affixed either a 1.4 mm or 2.0 mm teleconverter, and simply didn’t have the skills to follow North America’s second smallest falcon as it zipped around the grove at breakneck speeds in pursuit of warblers migrating south in late summer. So I climbed a small rise that put me eye level with the upper branches of the trees, chose a section that was well enough lighted, focused on a group of cones, and waited and hoped for the little falcon to enter the scene. The bird obliged, I snapped the shutter, and at least came away with what I would imagine is the only photographic documentation of Falco columbarius in the Chignik Drainage. The species had been documented there… but I think not photographed.

However, before much time passed the photograph began to grow on me. In fact, I actually began to like it. The bird is clear enough to easily identify as a merlin, and I began to appreciate that the blur, while not depicting the bird itself as clearly as I had originally hoped, captures something else: the story of the falcon’s incredible speed and maneuverability as it circled the grove. Had I been able to make a sharp, clean capture of the bird, as I swung the lens to keep up with the falcon the trees would have become a blur. But the Sitka Spruce grove, a copse of 20 trees transplanted from Kodiak Island in the 1950’s when Chignik Lake was first permanently settled, is central to the story here. I love the way the lush green trees draped with new cones anchors this photograph, thereby helping to create a fuller story.

These days, the incredible capabilities of modern lenses paired with technologically advanced cameras have created a push… a demand, actually… for ever sharper images. This has become particularly so in the field of wildlife photography. But it seems to me that sometimes… perhaps often… this insistence on “tack sharp” (and perfectly colored) images of wildlife has come at the expense of the overarching story behind the image.

Over the next several years photographing bears and birds, fish and flowers, landscapes and life at Chignik Lake, as I gradually came to understand more about photography, I returned to the above photograph many times, mulling, contemplating, turning it over in my mind. We already know, in great, tack-sharp detail, what all of North America’s birds and mammals look like. There are thousands of beautiful photographs of just about every species… in some cases perhaps millions of such images. So, how does one employ a camera to go beyond documentation, to tell a larger story? For me, the beginning of the answer to that question started with Spruce Grove Hunter.