Category: Photography

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Polar Bears and Red Pandas

Because of my current workload and deadlines, I haven’t been able to get away for reference photos lately. Shonna and I want to see our families and visit Discovery Wildlife Park, but her workload has been ridiculous this summer, so getting away has been challenging. I also meant to get down to Coaldale to the Alberta Birds of Prey Centre this spring, but that didn’t work out. Hopefully, I can get there before their season wraps at the end of August.

I drove to the Calgary Zoo on Tuesday to deliver a large print and sticker order. I was glad to get it done early in the week as the city is about to get very busy with the Canada Day long weekend, followed by the Calgary Stampede later next week.

With plenty of school groups on field trips this time of year and attendance high with the warmer weather, I didn’t expect to spend long at the zoo. But I brought my camera, just in case.

Within five minutes, I was ready to go. I’m not a fan of crowds, especially those made up of children. There’s something about that high-pitched, sugar-powered screaming that triggers my flight response.

If a foreign power ever tried to get me to reveal state secrets, they’d only have to suggest chaining me to a chair in a daycare, and I’d tell them everything. It’s a good thing I know absolutely nothing of value.

For those who keep suggesting it, I have no interest in drawing a children’s book.

But because I was already at the zoo, I gritted my teeth and set off to walk the circuit to see what I could see.
When I got to the new polar bear habitat, I was surprised to find both bears sparring with each other in their smaller splash pool. They have a much larger pool, but this was clearly where they wanted to be. Baffin and Siku seemed to be having a great time, wrestling, biting, and pushing each other under the water.

As one school group moved on, I parked myself at the edge of the window before the next group could arrive, and for a good ten or fifteen minutes, took photos through the glass of two polar bears, playing ten feet from my lens. I couldn’t have asked for a better vantage point.
Though I have just finished a polar bear painting and haven’t time to start another one, I took plenty of references for future projects.

Prints of that new piece, Big Bear on Blue, are now available in the store.

My zookeeper friend Kayla had to miss Expo this year, so it was nice to chat with her outside the wolf habitat before she and a colleague introduced some fish-oil-scented enrichment the wolves seemed to enjoy taking apart.
Finally, at the other end of the zoo, I caught the red pandas awake and playful and took photos that will no doubt inspire paintings down the road. One had found a perch high in a tree, balanced over a branch, in a comically lazy pose. There’s painting potential there.
After only a couple of hours, I was more than ready to head home, sort through the pics, and finish drawing an editorial cartoon.

As I’ve made a couple of commissions my priority right now, I don’t have any new progress to share on the other pieces I’m painting. Hopefully, I can put some more hours into those this weekend and share some new images next week.

Cheers,
Patrick

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Ring-tail Renditions

When the Land of Lemurs exhibit opened at the Calgary Zoo several years ago, I was excited to get up close and personal with these critters. Lemurs are a matriarchal species, meaning the women are in charge. Only females were in residence at the time, but I don’t know if that’s still true.

Because of disagreements in sample size and the territories surveyed, the number of Ring-tailed Lemurs left in the wild is under dispute. However, one thing experts agree on is that the wild population is in severe decline. Deforestation and hunting means lemurs may go extinct in our lifetime.

The World Wildlife Fund and several other conservation organizations work to educate and support communities in Madagascar to help them coexist with lemurs. Unfortunately, colonies in captivity may one day be the only place where lemurs exist.

One of the interesting features of the lemur habitat at the Calgary Zoo is that the lemurs are free-roaming within the enclosure. People must enter through a controlled gate, where an attendant explains the rules. Once inside, other employees and volunteers answer questions while ensuring the safety of the lemurs.

The enclosure design means the lemurs can go where they like, including climbing atop an unsuspecting person who crouches down for something. With no fence or glass, this open concept makes taking photos a real treat.

Early in 2020, before the world shut down, Wacom commissioned me to record a video using their Wacom One display, along with a voice-over narrative I wrote. I recorded a ring-tailed lemur painting for that project, and it’s one of my favourite pieces, mostly because she looks ready to snap. It’s also a popular print with many of my collectors.

I’ve long wanted to create another painting featuring several lemurs, inspired by the following photo I took in 2017. All these lemurs look a little stunned; harmless goofs, not too bright, except for one.
This photo always makes me chuckle. That evil-looking stare straight down my lens, the squinting focused eyes, the chunk missing from her ear. She reminds me of a gangster saying, “Come closer. See what happens.”
What can I say, I see cartoon characters in real animals. This is why I paint the way I do.

I have considered this photo and the painting I have wanted to create for years. I even have a title for it: The Ringleader. The finished piece will be 7 or 8 of the goofy, stunned faces filling the canvas, with the sinister ringleader in the middle, staring down the viewer.

The big challenge isn’t painting the faces but making them look like they belong together. That’s why I’m working on seven faces in the same file. The ringleader herself is a separate file that I started earlier this week.

I haven’t yet got to the stage where I compose them into the finished piece, but I’m getting there. Once they’re each in position, I’ll need to paint more hair and fur to blend the faces as they overlap. There won’t be any bodies or paws because this painting is about the faces filling the space, but I will paint a few tails coming in from the sides and bottom.
I’m happy with how it’s turned out so far, and I’m also hoping to offer the finished piece as a puzzle later this year.

I’m used to working on one painting, start to finish, posting it, printing it, getting it licensed, and moving on to the next one. While quality is my main concern, I’d be lying if I said I didn’t think of quantity.
So, when I’m working on several paintings at once and more involved pieces featuring multiple animals or more detailed backgrounds, paintings that take much longer than a whimsical head and shoulders portrait can be uncomfortable. It feels like I’m not getting enough done.

However, I’ve realized in recent weeks that there is a silver lining in working on multiple pieces simultaneously. Each painting gets time to rest, and when I open a project I haven’t touched in a week or two, the deficiencies or problems jump off the screen. That’s good because it reveals areas of the image I need to improve.

Last Friday morning, I opened this goofy gallery of Ring-tail Lemurs for the first time in a few weeks. I laughed out loud at the ridiculousness of the seven faces on the screen and said, “They look so stupid.”

And I meant it in the best possible way.

Would I have had that moment if I hadn’t let the painting rest? I doubt it. My comical critters surprised me. What a gift.
The finished piece will be a lot more detailed than the images in progress you see here. But the vision for what I’m trying to achieve is clear in my mind, and I’m having fun discovering each of these faces.

All that’s left is hours of painting to bring them to life.

Cheers,
Patrick

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Bright Lights and Little Birds

I’ve been back at my desk for the whole week, which is a welcome relief. With the Calgary Expo, delivering prints to Discovery Wildlife Park, visiting my parents, and this past weekend out to Golden for a friend’s 80th birthday, I’ve been on the road more than I’m used to.

Someone whose job involves a lot of driving or travelling might think this is nothing and hardly qualifies as being ‘on the road.’ Still, my work involves long hours at my desk and the digital drawing board, so time away puts a big dent in my productivity.

I must draw editorial cartoons in advance to keep those clients supplied when I go anywhere. So, I have done very little whimsical wildlife drawing and painting in the past few weeks. Since that’s the work I enjoy most and where the future of my business lies, I’m holding up a virtual hand to other obligations for the next little while, saying, “This far, no further. I have animals to paint!”

As for the weekend in Golden, I’ve known my friend Babe for thirty years this August. He and I started working at The Douglas Fir Resort in Banff on the same day in 1994. I was in the waterslide facility, and he worked in maintenance. I pointed out to him on Friday that I was 23 when I met him at work, and I thought, “Who’s the old guy?”

He was three years younger than I am now.

Friends who’ve shared campsites and cabins for decades in various places, there were five of us in Golden this weekend. Babe and Sue stayed in their little house, Al in Babe’s art studio bedroom, and Jim in his little Boler trailer. I usually stay in their small cabin, a two-minute walk up a winding dirt path through dense forest. It was the first thing built there in 1993, and it is still solid, quiet, and comfortable.
We stayed up waiting for the northern lights Friday, but with none arriving by 11, we retreated to our separate spaces. I’m indeed one of the old guys now.

Around midnight, just about to climb the ladder to the cabin loft, I noticed the whole sky had turned pink and was moving. I dressed quickly, walked down through the woods to the main landing and knocked on Jim’s trailer. He woke startled, and I told him he’d want to get up and see the show.

When he saw the sky, he said I should get Al, while he went to wake Babe and Sue.

We all sat outside for an hour watching one of the most unique and spectacular northern lights shows any of us had ever seen.

In 1993, while I was in EMT training in Lac La Biche, a group of us drove out to Sir Winston Churchill Park on a very cold winter night to watch the northern lights. Many colours danced back and forth above, but what made it most memorable was seeing the sky reflected in the clear ice of the massive lake. From the edge of the shoreline, it felt like we were standing inside the aurora.

Those were the best northern lights I’ve ever seen. Last weekend was a close second.
The next morning, I admitted that just before I knocked on a dark, quiet trailer, I wondered if I was painting a target on my chest. Nobody likes to be woken from a dead sleep. Thankfully, all agreed it was worth it. After all, that’s what Saturday afternoon lawn chair naps are for.

My low-res grainy phone pics above are unremarkable compared to the fantastic captures I’ve seen online, shared by skilled photographers worldwide. Hopefully some of you got to see the show for yourselves. Photos rarely rival the experience.
On Saturday, several hummingbirds made rounds at three or four feeders Babe and Sue have around their home. Having never before captured decent shots of these tiny speedsters, I must have learned a few things over the years as I came home with several potential reference photos, more than you see here.
While these photos are edited, of course, that convenient red background is Babe’s little barn garage for his trailer, as a couple of the hummingbirds landed and sat on the safety wire surrounding the deck of the house.
My first instinct is to paint several of these poses, a line of little hummingbirds on the same wire, and devise my own vibrant colour scheme for each bird. I’m sure that seems like sacrilege to any hardcore birders, but my art doesn’t represent reality. I guess I’ll see what happens when I get into it, whenever that might be.
Regardless of how or when I paint from these pics, I enjoyed stalking the quick little critters. The best part about taking wildlife photos strictly for reference is that it doesn’t matter if the backgrounds or lighting aren’t great. Where a wildlife photographer might not see an image worthy of sharing or printing, all I care about is the detail and whether it inspires a possible painting or two.
And that’s my cue to head back to the drawing board. Next time, I’ll have some new artwork to share, or at least some works in progress.

Cheers,
Patrick

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A Solitude on This Side of Fifty

Most years, I’d rather let my birthday go unnoticed, and thankfully, I married someone who feels the same way about hers. If someone mentioned having a birthday ‘party’ for me, my first thought would be, “What the hell did I ever do to you?”

Given my nature, it’s no mystery why birthdays make me melancholy. Another year older with not enough accomplished. Dwelling on past mistakes or missed opportunities is an unhealthy perspective and does nothing good for the mind or soul, but we’re all human. We feel what we feel.

This side of 50, I no longer tolerate cheap-seat criticism for who I am, especially from those who wouldn’t take it from me. I’ve heard this sentiment called the Fuck-It Fifties, and I have embraced that. A wise philosopher once said, “I yam what I yam and dats all that I yam.”

As my 53rd birthday approached, I still felt low after a long, dark winter. Rather than stay home, brood and make Shonna’s weekend miserable, I decided to get away by myself. She had no objection.

While friends and I have rented a cabin a few times a year in the Central Alberta foothills, I associate that place with social gatherings, games, music, late nights, and sharing spirits of the bottled variety.
But on the northern border of that same property, nestled beside secluded wetlands, there is another cabin. It’s one room, one bed, solar power for lights, an outhouse, no water and no noise. It’s at the end of a road, behind a gate on private property.

Cooking is outside on a propane stove and tabletop BBQ. The only heat is from a wood stove and you bring your own bedding. Were it not for the comfort and unique personality of the place, it’s a stone’s throw from camping.

I brought my camera, guitar, books, writing and drawing tools and told myself I’d be open to what happens, intending to let go and relax. It took very little time, however, to realize that I had also brought myself on this getaway, and that’s not how I roll.

The usual 2.5-hour drive from Canmore took longer because of a spring snow event. Had I seen a video of the white-knuckle experience I was in for, I would have stayed home. But once I arrived and pried my fingers from the steering wheel, I was glad to be there.
While shovelling snow, I scared a snowshoe hare out from under the deck, and I took that as a good sign. I wanted to see wildlife, even though this critter did not want to see me.

After I unloaded my stuff, I sat on the couch, took a deep breath and thought, “Now what?”

At home, I prefer long days working alone, but I never have a shortage of things to do to occupy my time and mind. We all have nasty demons that remind us of our failures, regrets, and shortcomings. When you find yourself alone with nothing to distract you, their voices become louder. As the man said, “Wherever you go, there you are.”
The property owners have become friends over the years, and I like to visit them. While on my daily wanders, I walked up to their place a couple of times, a 5-6 km round trip from where I was staying, as I had no interest in taking the shortest route.

I confessed Friday afternoon that I felt a little low, a confusing realization since I know and enjoy this place. Sitting in the cabin alone, looking at the beautiful view, I wondered if I had made a mistake. Karen said it often takes people at least 24 hours to get used to the solitude. She shared that one woman, another artist, booked a cabin for three nights and left after one day because she couldn’t handle being alone in the quiet.

I felt sorry for that stranger but didn’t judge her because I understood. On the walk back to the cabin, I wished she’d given herself a little more time.

By Friday evening, after dinner, I was past my own discomfort and genuinely began to relax. I sat at the small table, looking out at the falling snow, well into a book I’d wanted to read for a while. I made a big mug of tea, put more wood on the fire and that’s how I spent the rest of my evening.

For the remainder of the weekend, I played guitar, read my book, and sat quietly on the deck in the sunshine. I went to bed when I felt like it, got up early before the sun, and wandered the property with my camera.
Free to roam more than 300 acres of pasture, wetlands, and forest, I walked close to 20km over 72 hours in snow and sunshine. It was peaceful and very pretty.

People see moose here, walking right by the cabin. I saw one in the distance years ago. On previous visits, I’ve seen owls, deer, and coyotes several times. Even though I know that wildlife doesn’t punch a clock, I hoped for an encounter or two.
In the new fallen snow, fresh moose, coyote, deer and rabbit tracks were all over the place, many of them just hours old. I heard the coyotes at night and in the morning, and that was nice. It’s one of my favourite sounds. I listened to an owl calling two nights in a row. But all I saw were little birds flying here and there, a few ravens, a couple of geese, and that scared little bunny when I first arrived.

I didn’t even see a squirrel.
I know professional photographers who spend great amounts of time, energy and money to get to remote places, park themselves in a blind, right next to a game trail for hours and days on end, and often come home with little or nothing to show for it.

But I’ll confess to feeling a little insulted. When you paint personality in whimsical wildlife, you end up with a warped sense of expectation regarding actual wildlife. Come on, I thought we were friends, here.

Upon reflection, had I seen and photographed cooperative critters, I would have undoubtedly spent hours going through them on my iPad. I would have made some edits, considered possible paintings, and wrote something about the experience, and I would have edited that, too. Suddenly, I’d be working.

So, perhaps I got what I needed, instead of what I wanted.

On the perfect sunny drive home on dry roads with light traffic, I had time to reflect and was content with the experience. I spent my birthday by myself, without anyone telling me how I should be celebrating it. I got up early, as I prefer, without walking on eggshells for fear of waking anybody up, which is often the case on cabin visits with friends. I played guitar and sang, fumbled with chord changes, learning songs I didn’t know, without intruding on anyone else’s peace and quiet.

I asked no permission, made no apologies, and had no schedule or agenda. And though it took me a day to settle into it, I now wish I could have stayed longer.

Maybe next time.

Cheers,
Patrick

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Dark Days and Raven Reference

You can attribute it to seasonal affective disorder, lack of light, or the extreme cold weather that settled in this week, but January is not my favourite month. I am at my most miserable and misanthropic this time of year, coupled with a short fuse. My jaw has been bugging me for a couple of weeks, a consequence of unconscious clenching and teeth grinding. I’m not sleeping well and have bad dreams.

As a result, I’ve been keeping to myself more than usual.

I haven’t got any motivation right now, and when I mentioned it to Shonna, she reminded me this happens every year. It’s funny how I forget.

I’m still up at five each day and at my desk by six because this is my job, and I have obligations and daily deadlines. The best advice I ever give anyone who asks me about art-for-a-living is that you have to work when you don’t want to, just like everybody else.
But at the moment, each cartoon takes longer to draw because I’m easily distracted. I’ve got two paintings in progress, but I’m finding the work about as exciting as assembling IKEA furniture.

Though we plan to keep riding our bikes all winter, it’s far too icy right now and brutally cold, something we’re both genuinely pissed about. I’ve been forcing myself to get out and walk most days, finding any excuse to run an errand downtown. I’ll layer up and walk the 6 km round trip to Safeway for only a couple of items, just to get some exercise and light exposure.
On the way, there’s a long stretch of paved pathway beside the train tracks. It runs behind another grocery store, recycling drop-off, and Canadian Tire and several ravens hang out in the area, scavenging for scraps.

Ravens can get quite large here. They often seem comically arrogant with their vocalizations and antics. They bicker at each other, and me if I get too close, but they’re usually too lazy to fly away until the last minute. I’m likely projecting my own impressions upon them, but given the nature of my work, I do that with most animals.
But when a raven flops down on his back and rolls around in the snow, pausing several times to look right into my lens, it’s hard not to imagine it’s doing it for my benefit. I took quite a few shots of this clown before he (or she) finally got back on his feet.

So, despite my brooding melancholy and lack of enthusiasm, I’ve been taking my camera along on these forced marches. Over the past couple of weeks, I’ve captured dozens of remarkable reference photos for future paintings, many more than the ones you see here.
Thanks to a recent photo tip technique on my friend David duChemin’s site, I’ve been using Auto-ISO, adjusting the EV Compensation as much as +2 and cranking the shutter speed to higher than I usually would. Though many of the photos came out lighter than expected, requiring Camera RAW correction in Photoshop, I was suddenly capturing amazing detail in the raven feathers and features. Some of the flying shots are so sharp I can paint from them.
While a professional photographer might deem them unworthy for prints or portfolio pieces, I use the photos strictly for reference, so any flaws don’t matter.

I’m currently working on a raven painting from shots I took two weeks ago. But I now have dozens of others I can paint from down the road.
Though I’m struggling to find my creative spark right now, I know it will return as spring gets closer, and my mood will improve with more sunlight and warmer weather. It always does. And should I want to paint more ravens then, I’ll be grateful I forced myself to get out now and that I took my camera with me, even though I didn’t feel like it.

Cheers,
Patrick

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Lingering With the Local Wildlife

A couple of weeks ago, I biked a trail between a suburban neighbourhood and the Canmore Golf Course. It’s a popular pretty route in the trees, and I’ve taken it often. Rounding a turn, I encountered a large harem of elk lying down in the trees next to the path, with one very large bull elk standing among them.

Whether it’s females in the spring during calving season or the bulls in the fall during the rut, elk can be dangerous animals. Live here long enough, and you’ll likely have been charged by either just because you got too close or they didn’t like how you looked. While living in Banff, I’d hidden behind a car or ducked into a building more than once to avoid an elk. So has Shonna.

When I realized I was within the danger zone and too far in the middle of the herd, going forward was the same as going back. So, I maintained a steady pace, kept my head down and avoided eye contact with the bull, watching him in my peripheral vision. His head followed my course.

Once past them, I breathed easier and warned some people coming the other way. You can always tell the locals, especially the ones walking their dogs. A herd of elk? Let’s go the other way.
It is maddening to explain to a tourist that they are too close to an elk and, for their own safety, they should move away, only to have them dismiss you with a wave or a middle finger, saying, “Yeah, yeah, mind your own business.”

I wanted to take some photos; it just wasn’t safe in that area.

The following week, our yoga instructor sent me a photo she took on her phone of a big bull elk hanging around with his harem at the quarry recreation area on the other side of the valley from where we live.

So, whether it was that herd or another, I biked up there last week to look for them. It was a beautiful ride in the fall sunshine, but no elk. The next day, I tried again and came up empty.

On Sunday, after drawing cartoons and working on paintings, I decided to try once again. My route took me along a popular pretty trail beside the Bow River, with stunning views. Frequented by tourists and locals alike, the river trail is the result of flood mitigation many years ago. The path runs the top of an artificial berm between adjacent homes and the riverbed, which is mostly dry this time of year.

As I crested the berm, I noticed an unusual number of people stopped on the path, looking into the riverbed. Sure enough, there was a large harem of elk, complete with a majestic-looking bull. Because they were spread out on the riverbed and in the trees on the opposite bank, a fair guess would be about thirty cows and calves in the herd, erring on the low side.
It was an ideal situation for wildlife watching because people could look as long as they wanted and take pictures, and nobody was in danger. I expected somebody might foolishly climb down the bank to get closer, but fortunately, no one did.

From a photography perspective, the conditions were not good. The bright afternoon sun, lower in the cloudless sky this time of year, was directly across from me. I was shooting handheld at full zoom at 300mm. I probably should have gone with a higher shutter speed, but I often get that wrong. I’m only keeping a dozen of the hundreds of photos I took. While none are suitable for photo reference, I enjoyed the experience, especially taking pics of this impressive fellow.
I’ve lived here for almost thirty years and still love seeing wildlife, even the common sightings of deer, elk and bighorn sheep. Parking the bike off the path for a couple of hours, snapping photos, listening to a bugling bull, and watching a herd of elk on a beautiful warm fall day in the mountains was time well spent.

Cheers,
Patrick

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Photos That Inspire Paintings

A couple of weeks ago, we drove up to Red Deer for the weekend to visit our folks and spend a windy fall Saturday at Discovery Wildlife Park before they closed for the season. I always enjoy my visits with the animals, but they’re much more fun with Shonna.
Taking photos of Berkley, Bos and Piper during the educational bear presentations never gets old. I got some nice shots of the timber wolves and lions, photos that already have me planning new paintings.

Two highlights from this visit were Koorah, their orphaned cougar cub, and Velcro, the baby porcupine (porcupette) rescued from a vehicle strike earlier this year.

While Alberta Fish and Wildlife rules prohibit the public having physical contact with the cub, I took plenty of photos of him as he ran and played in the grass. As I lay on the ground, he kept running straight at my camera lens until Serena would grab him and move him back. Then he’d do it again. It was a real gift, a lot of fun, and there will be a painting coming.

Though we couldn’t touch Koorah, there were no prohibitions about contact with Velcro, and Shonna was smitten with the little guy. He seemed to enjoy her attention, and aside from a couple of little unintentional quill pokes here and there, we came away without injury.
It was a wonderful experience, thanks to Serena, Mary and Belinda, who always treat us like family.
I took over 3,500 photos, which could be my record for a single day. A professional photographer might criticize my spray-and-pray method, and some have. It means I point the camera, hold down the shutter so it sounds like a machine gun, and gamble that one of the action shots might give me something from which I can paint.
As I’ve written many times, I do not want to become a professional photographer. I’m looking for painting reference, and there have been plenty of times when the accidental surprising shots inspire the art that follows. So, waiting for the perfect shot and then firing the trigger, as many skilled photographers do, means I might miss out on a look, pose, or head turn that inspires a future piece of art.

As for those thousands of photos, I only keep a small percentage.
There are two camera cards in my Canon 5D Mark III camera. I don’t need RAW files, so I set it to save duplicate JPEGs. It doesn’t happen often, but camera cards can fail, so duplicate cards are my insurance.

I download the photos to my computer when I get home and begin to go through them. The questions I’m asking with each pic are, “Is this a photo that makes me feel something?”, “Do I like this photo?” and most importantly, “Can I paint from this?”

Everything else goes in the trash.

Because I have other work to do each day, it usually takes me a few days to complete the first pass. From this excursion, it took me from Sunday evening to Thursday morning, and when it was all done, I had discarded almost 3,000. It could have been out of focus, poor lighting, or a useless pose; who knows?

571 photos remained in the first pass folder.
It feels great to eliminate that many so soon because too much choice is overwhelming. I let them sit for a day or two before going back to ask those same questions again.

Will I really paint from this? Really? If I was going through my folder for this animal, would I consider this at all? Is there anything of value in this photo that can contribute to a painting, like a closeup of texture detail or an expression?

It took me another week to whittle them down to 322.

I don’t like clutter, which also applies to hard drives filled with images I won’t ever need. After my aggressive weeding, I’ve got photos that will inspire paintings or provide the reference detail I need to paint my best work.

Then, I divide them into photos for reference and pictures I want to keep for memories of the experience or share in a post. These are pics of people with whom I shared the day or ones I can use to tell the story of the experience, like the one you’re reading here.
I edit the photos I’ll share, but not the ones I save for reference, aside from perhaps cropping out unnecessary background. That helps save file space.

Finally, I sort the remaining photos into my reference library, which contains over a hundred folders for different animals.

I have a custom-designed desktop PC, so every file I save is mirrored on two hard drives. If one drive fails, the other is a replica that switches over immediately. It then provides a warning for me to replace the damaged drive. Once I do, the mirror rebuilds. This system saved me a lot of time and work on a previous computer. I had two hard drive failures over six years and didn’t lose one file.

But I also have a backup of everything online with Dropbox and two portable external hard drives. My photo reference library is extensive, not to mention 20+ years of cartoons, illustrations and paintings. Strangely, my entire career fits inside a chunk of plastic smaller than a paperback novel.

Because of other commitments and projects on the go, it will be a while before I start any new paintings from the photos I shot on this trip to Discovery Wildlife Park, but I’m looking forward to that opportunity this winter.

Cheers,
Patrick

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Blizzard Bear

While I’m not a big fan of the season, I love winter colours, the blues, greys and whites. Seems like I’m on a bit of a snow kick right now.

I’m proficient with a camera but have no designs on working as a professional photographer or even being a serious hobbyist. I love taking photos, but only because it’s the first step in painting my whimsical wildlife. Images a pro would toss in the trash can still work well for reference. If the photo shows the necessary details, I can ignore any flaws, artifacts, lighting and exposure issues.

I prefer to take my own reference, but it’s not always possible, especially when the animals aren’t all that local. My Humpback Whale and Sea Turtle paintings come to mind. Thankfully, I’ve known several generous photographer friends willing to share their beautiful photos. If I tried to list them all, I would forget somebody and wouldn’t want hurt feelings. Hopefully, I adequately conveyed my gratitude to them at the time and in the blog posts accompanying any new painting.

I could buy stock photos for reference, and I’ve done so before. But if I’m going to use somebody else’s photos for reference, I prefer to have a connection with the person who took them. It often makes for a better story, and I have a lot of respect for artists who have skills I don’t, especially wildlife photographers.

I spend many long hours painting, obsessing over little hairs on a grizzly bear’s ears or the challenging horn texture on a bighorn sheep, but I’m in a comfortable office while doing it. I haven’t the patience, time, or funds to travel long distances to remote locations with a ton of expensive gear, only to sit in a blind for days, waiting for any animal to come down a trail, hoping to get that perfect shot.

And since wildlife doesn’t punch a clock, they often don’t get the shot. I admire those folks and their commitment.

For most of these artists, the experience and pursuit are often as important as the photos, but I’ve always been more of a destination guy. I don’t even like road trips.
My friend David duChemin is a talented and skilled photographer. He’s been on multiple trips to northern Manitoba to take photos of polar bears. I don’t remember if I had asked or if he volunteered, but he once offered some of those photos for reference.

When I ask to use reference pics, I’m okay with receiving a No, which has happened a few times. I also expect to pay for the exchange, in cash or trade, and am prepared that I might not be able to afford the asking price, which has also happened. Photographers work hard for their craft and deserve compensation. Even with that perspective, I always feel a little weird about asking, wondering if I’m crossing a line, especially with friends.

But I wanted to paint another polar bear, so I swallowed my pride a couple of weeks ago and asked David if the offer was still good. He not only replied right away, but within a few hours, I had a large collection of his photos to download.

I hadn’t planned on using them for a month or more, so I asked early, wary of implying any rush. I was surprised to get them so quickly. I loved looking through the photos because they are all beautiful shots. Rather than try to anticipate what I wanted and create unnecessary work, David just uploaded a bunch and let me decide. Most of them wouldn’t be suitable for reference, but quite a few gave me what I needed. The photos inspired me, so I started this painting the next day and completed it this past Sunday.

If you’d like to see some of David’s polar bear shots, here are two posts (first and second) where he shares some of them. He’s also an excellent writer, so look around his site and enjoy his photography and stories. He casts a wide net with his subjects and themes, but it should come as no shock that I’m partial to his wildlife images, especially the bears. David has taken several trips to hard-to-reach locations all over the Pacific coast and interior to capture glimpses of bears in their natural habitats.

David underwent a surgical procedure earlier this summer, and I drew this cartoon for him. He’s recovering well and will undoubtedly be back in bear country soon. I’m happy with how this polar bear painting turned out, and I look forward to the day I can repay David for his generosity.

Because of the whimsical nature of my work, with an almost caricature quality to the animals, and that I don’t often paint landscapes or detailed backgrounds in my pieces, my paintings rarely look the same as the photos I use for reference. I’m not looking to replicate a picture; I just need to see the details, where the shadows and highlights fall in the anatomy, and what the fur texture looks like. I can’t paint my version of wildlife unless I know what the reality looks like.

That said, I like to take my own photos whenever possible because there have been countless times where the photo has inspired the painting. It might be a hint of an expression I can exaggerate, the way the light hits fur or feathers, or the personality I see in the actual animal that I can develop in the painted version.

But for those times I haven’t been able to take my own reference, I’m grateful for so many photographer friends who have helped bring some of my paintings to life. You know who you are.

One of the challenges with a square format painting is that I need to crop it for my standard 11”x14” print, either vertical or horizontal. I tried both layouts, and vertical was the clear winner. Of course, you can always order the original square format as a canvas or metal print. Drop me a line for more details.

Cheers,
Patrick

 

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Porcupics

I’ve only been to Discovery Wildlife Park once this year for a print delivery and didn’t have time to take any photos, so spending a few hours there last week was nice.

I’m always grateful to hang out with and shadow my zookeeper friends Serena and Belinda. They’re so generous with their time, allowing me to see behind the scenes. I can’t always share those experiences, but since they’ve now introduced this little guy online, I can reveal photos of one of their newest rescues, a porcupette (that’s what you call baby porcupines) they named Velcro.

Velcro’s Mom was a road casualty, and they suspect he might have been attached to her when it happened. When surrendered to the park, his eyes were scabbed over, and his nose and muzzle abraded. His nose is still healing, but he’s coming along nicely.

While porcupines don’t shoot their quills, a common myth, they will detach easily to embed in a predator’s skin, an effective deterrent. Velcro’s quills feel like soft hair, as long as you pet with the grain. I made the mistake of moving my hand back before lifting and found that out the hard way. Serena laughed and said, “You can only pet a porcupine in one direction.”
We took him out to the grass for a bit, and I got some lovely photos. A few of them are downright comical and will make wonderful painting reference. I mentioned I have long wanted to paint a porcupine but have never gotten the proper reference.
After I watched them feed Velcro, Serena told me to go with Belinda in the golf cart and to bring my camera. She wouldn’t tell me where I was going, but after collecting fresh branches from a treed area on the property, we delivered them to Zipper, their adult porcupine. I didn’t even know they had one, likely because I’m usually hyper-focused on the bears.
It was a hot day, and Zipper wasn’t especially active, so I don’t think I got the best reference from which to paint an adult porcupine, but at least I know where to go for some great opportunities in the future.
___

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Spending Some Time With Skoki

On Wednesday, I delivered a large print order to the Calgary Zoo. A zookeeper friend had ordered a couple of canvases, so I was also happy to deliver those to her.

It poured rain all day, and I was not complaining. After our unusually dry spring, all the wildfires, smoke, and extreme fire hazard risk, the water and cool temperatures were welcome.

But I figured it would be a quiet day, allowing me to take some reference photos. I prefer a cool, overcast day for pictures rather than a hot sunny one. Not only is the light better, but the animals are more active. How much would you want to move around in 30C wearing a fur coat?

 I failed to realize that many school groups visited the zoo in June, and the place was infested with loud, screaming, unruly children. They had filled the interior spaces on this rainy day, so I couldn’t take any pictures inside the Asia or Africa pavilions.

I know many kids and their parents like my artwork, so I don’t want to bite the hand that feeds me. Zoos are great places for kids to learn to appreciate animals and foster empathy for them. Kids that love and learn about animals might become adults who want to protect them in the wild.

I also know that I was a hyperactive, rambunctious, loud kid, and I undoubtedly annoyed plenty of adults around me. So, payback’s a bitch, I guess. People talk about getting in touch with their inner child. Given the opportunity, I would tell mine to please, calm down and be quiet. Go draw something.

I realize that my lack of patience for children is entirely my own character flaw. Working alone at home all day, I thrive in a solitary quiet environment.

And you wonder why I don’t write or illustrate children’s books.

Since I couldn’t tolerate the little people inside the buildings, and finding unobstructed space to take photos was impossible, I decided to cut the day short.

But on my way back to the car, I figured it would be foolish not to visit the bears in the Canadian Wilds, at least.

I was pleasantly surprised to find them all active, moving about and playing. Skoki, a famous grizzly bear around here, seemed to be having a good day. At 34 years old, he’s a special ambassador bear whose story has been quoted countless times to educate tourists on why feeding and harassing bears for photos in Banff National Park doesn’t end well for the bear.

Rather than rewrite it, I’ll encourage you to read Colleen Campbell’s recent retelling of Skoki’s story.

Nobody wants to see animals in captivity, but as I’ve written countless times before, we are unwilling to sacrifice to keep that from happening. Everybody wants that sharable photo of a grizzly and her cubs on the side of the highway, and if one person stops, a dozen others stop. Soon, the bears are harassed and stressed, and if the mother defends herself or her cubs, she gets relocated or put down.
People leave food out while camping which attracts wildlife. When a bear associates people with food, it’s game over for the bear. I’ve lived in this valley for almost thirty years, and I don’t want to count how many times I’ve read about bears who’ve been euthanized because of selfish and careless people.

The more people repeat Skoki’s story, the more they educate young people to want to protect them in the wild and prevent them from being put in a zoo or destroyed.

One pet peeve I have at the zoo is the many times I’ve heard parents saying to their kids, “Watch out for the scary bear. He’s gonna get you. Rawrrrrrrr!”

I know they’re just fooling around and playing with their kids, but the message is clear — bears are frightening monsters, and you should be afraid of them. When you’re scared of something, it’s easy to justify killing it. There’s a big difference between respect and fear, and they have a lot more reason to fear people.
I must have taken about 700+ shots of Skoki on Wednesday. He gave me so many beautiful poses. At one point, he walked across a log, sat up and straddled it, then hung out there. The wind came up, and he was sniffing the air, clearly enjoying the rain, and I ended up with many great references. Look at those little feet.
He gave me a great idea for a painting. I imagine several bears lined up at a log, like a bunch of friends hanging out at a bar. With his multiple poses and expressions in the same spot, I can paint five or six different bears using him as the reference. I’ll paint the faces and bodies differently for variety, making one thinner, another heavier, taller, and shorter; there are plenty of options. By varying the colours, the finished bears will look like their own characters, but the primary reference will still be one bear.

One of the best things about taking photos for painting is that even though almost all my photos are poor shots, they’re still excellent reference. I was shooting behind very wet plexiglass windows from inside two different shelters. He was a good twenty or thirty feet away, so I could focus past all the water drops and spots, but it was still like shooting through a dirty lens. None of my images are sharp focus.

But I’ve painted so many bears and have taken thousands of photos of them that I only need the pose and the idea to craft a painting from these shots. I have enough experience with bear anatomy and painting hair that bad photos are still a good reference.

Plus, I know enough Photoshop tricks to sharpen them to give me more detail. They’re still bad photos but good enough for my purposes.
Resuming my walk back to my car about an hour and a half later, it struck me funny that I began the day hoping to get photos of animals I hadn’t yet painted or only painted once but left the zoo with a camera card full of grizzly bear photos. I have more pictures of bears than any other animal.

But I was happy once I saw them, armed with an idea for another painting.