Questions & Answers:

Q: Maybe a silly question, but [are] birdfeeders/suet/etc. put out by one’s home . . . considered unethical/bad for the animals these feeders attract?

A: Not a silly question at all. Bird feeders are a grey area, many saying they are fine, others saying there is little difference from other forms of baiting. They certainly differ from baiting a predator with live animals such as mice for owls. But they do have negatives associated with them. They can be an attractant for sharp shinned and cooper’s hawks who feed on the birds at the feeders. They do bring species together that may not normally mix. And if not cared for properly, feeders can transmit diseases. So careful maintenance and cleaning is a must.

Audubon did articles about this that might be useful:

Why Baiting Owls Is Not the Same as Feeding Backyard Birds:
https://www.audubon.org/news/why-baiting-owls-not-same-feeding-backyard-birds

Why You Shouldn’t Feed or Bait Owls:
https://www.audubon.org/news/why-you-shouldnt-feed-or-bait-owls

Q: Do I remember correctly that the bobcat/drone photographer eventually “figured it out” and came out saying he had done the wrong thing?

A: The photographer was quoted in an article where he did bring this up. Here are his two quotes:

“These cats were very comfortable being up close and personal with the camera.”

“After looking into the ethics of drone photography around wildlife, I realized I may have gotten too close to the bobcats for comfort, and looking back, I would not have gotten as close as I did. If the behavior of the animal changes, the drone is too close.”

Q: What role do magazines play in enforcing ethical practices on the part of photographers who publish photos on their pages?

A: Magazines are some of the largest consumers of game farm photos. If they use these images, they are contributing to the profits of the game farms. In my opinion the magazines should ensure the images they are using were taken by ethical means. This is hard as resources are thin at many, but in the end it is still their responsibility. Education is critical as many editors, advertisers, nonprofits or other consumers of wildlife photos aren’t even aware of the game farm issue, nor do they know what questions to ask about a photo before using it, or how to recognize a game farm image.

The Photo Stock Agencies should also proactively remove their offerings of game farm images. Stock Agencies’ game farm images also contribute to the continuation of the industry.  Having a Stock Agency focused solely on ethically obtained wildlife photos would be terrific, but a significant amount of time and work for someone to create.

Q: May we have links to the bobcat video and the game farm/cages article please?

A: Here is the link to the bobcat video:

https://petapixel.com/2020/12/21/photographers-drone-captures-three-bobcats-hanging-out/

The game farm/cages images were not from an article. But here are two you can reference:

https://www.nationalgeographic.com/animals/article/ethical-wildlife-photography

https://www.audubon.org/magazine/march-april-2010/phony-wildlife-photography-gives-warped-view

Also see other articles on game farms here: https://linktr.ee/photogamefarms

Q: How much is the field of wildlife photography itself contributing to this malaise? Is this field serving any purpose at all—as opposed to Conservation photography which is bringing to light these instances of animal abuse?

A: This is an interesting angle. Wildlife photography is a HUGE umbrella with so many tentacles. We all participate for a wide and diverse set of reasons. There is a subset of wildlife photographers that lead workshops at game farms, attend workshops at game farms, use bait and other unethical methods of capturing their images. And there is no question that the desire to get “the shot” to share on social media, etc. sometimes leads to people taking unethical shortcuts.  So in answer to your question, yes, some wildlife photographers are indeed contributing to the overall issue at hand.

On the other hand, wildlife photos are an important tool in education and conservation – they allow unique moments and behavior to be shared with a broader audience who might never see these things in person.  So, the field itself also contributes significantly to the overall understanding, appreciation, education, conservation, and protection of the very species we are all photographing. If it weren’t for the (ethically sourced) images of many of these species, we would have a much more difficult time in our efforts to protect, appreciate and understand them.

Q: What is your collective take on falconry and photography workshops with captive raptors?

A: This will vary greatly across all photographers and is a difficult and controversial topic. There are many sanctuaries and rescue centers that take in injured birds. Some of them do offer workshops and photography opportunities as a means to fund their work. For us personally there is a big difference between these facilities and facilities that either breed these animals for falconry or capture these animals in the wild to use for falconry. To us, the breeding of wild animals for our personal pleasure is not acceptable. And of course, capturing any bird in the wild for the same is not acceptable. But birds and other animals that cannot be returned to the wild because they were irreparably injured or somehow tamed can be wonderful ambassadors. Before visiting any captive facility, make sure you find out whether it’s breeding raptors for a life in captivity or not–and don’t be fooled by claims of “but it’s to ensure the species survives” unless they are part of a recognized conservation plan that they can tell you about.

Q: Recommendations for what to do if you see photographers harassing wildlife? Whom to call? Photograph / license plate #? When to confront? Safety? Seems like the bad ones are generally confrontational and dismissive of concerns.

A: Yes, this is very challenging, especially in today’s short-fused society. It definitely depends on the situation, as some people are simply unaware of the impact of their actions, and will respond positively to suggestions and modeling good ethics. I [SK] have been successful saying something like “we will all get better images if we stay low, quiet and a reasonable distance away.”  Many times, it is best to take a less confrontational approach and share a story or a photo tip that alludes to protecting the subject. It doesn’t always work. But sometimes it does. If someone is doing something illegal, then of course reporting it to the appropriate authorities is certainly appropriate.

Q: All speakers are listed on NANPA’s ethics page. Of the practices you described as unethical, NANPA only lists the use of live mammal bait as unacceptable (but not the use of other baits/lures, no mention of unethical use of drones, etc.). Do you think NANPA has the will/ability/duty to be a stronger advocate of wildlife photography ethics?

A: As a member of the ethics committee, we can say that all these practices are of great interest to the organization. Each has its place in our discussions, and we are continually working with the greater organization to update statements, positions, and actions as they are thoughtfully considered. The example of NANPA taking the position of the use of live bait is a good example of the organization’s progress. Other issues that you raised are actively being discussed.  NANPA is also coming out soon with a comprehensive e-guide on ethics in nature photography that will address all these issues. The NANPA ethics committee has been hard at work on it.

Q: Has anyone thought about contacting Getty images and iStock identifying the worst actors and asking customers to avoid buying their images or ask them via petition to ban them?

A: Many of us have pursued our own efforts to bring this subject to the attention of stock agencies, magazines, etc. We’ve written articles on the topics and we continue to find outlets to bring these topics to a broad audience. Our hope with this webinar is that the many of you who have watched it will also make an effort to spread these practices through your networks and the greater movement will eventually make these game farms and images obsolete.

Q: People need to realize you never walk directly toward your subject, but rather walk [back and] and forth while slowly closing the range. When you walk directly toward an animal, it has to decide if you are coming to fight, mate, or eat and whether it should go into fight or flight mode. I have been able to get closer to animals by acclimating them to my presence by vision and smell.

A: Every animal has its own tolerance and will have its own flight or fight response. No matter how we approach animals in our desire to photograph them, we should all do our very best to watch for the behavior changes that show when we have come too close and respect that distance. We all want to get closer. We all make mistakes. But we can all try hard to keep the animal’s welfare a priority.

Q: Thank you for this illuminating presentation. Curious to hear about trail cameras issues and ethical approaches for predator species.

A: Trail cameras are a wonderful way to capture images with minimal disruption. They have been used with incredible success in the field of conservation. Some considerations for trail cameras include the use of flash, bait and scents. The most ethical approach uses no bait or scents. Putting out food to draw a wild animal into your camera trap should not be done.

Q: So how do you justify the behavior of most of the photographers that shoot at Yellowstone every day? They’re right on top of the wolves and other animals to the point they’re desensitizing them to humans and making them much more vulnerable to hunters and trappers.

A: We do see some horrific behavior from these places often enough to know it is an issue. The issue is typically when a bear (or other wildlife) comes close to the road. Many people get out of their cars and can indeed crowd the animal, putting it, its babies and them in danger. It happens quite a bit. But I wouldn’t say it is the norm when discussing wildlife photographers.

I have been to Yellowstone many, many times and I would have to say the majority of “wildlife photographers” there are not right on top of the wolves and most other animals. Most wildlife photographers there understand and abide by the distance rules the park has. Not all. But most. I believe the images we see mostly from these places are the general public crowding the animals, not the “every day” photographers that live there.

Q: Do “click(s)” of the camera “alert” [the animals] (assuming they can hear it) even if they can’t see the photographer?

A: Great question. Yes! Most have incredible hearing and are quickly alerted at the sound of the ‘click’. It is something to take into account as you are in the field. And a reason to sit and observe an animal for a while before taking any photos.  The sound of the shutter can definitely be a disturbance that changes behavior. As a guide, I [DD] am often in the field with clients who have mirrorless cameras that make no sound when shooting. I see very little behavior change with this equipment. I do see behavior changes with the noise of a non-mirrorless camera.

Q: What is your experience/opinion of African photographic safaris?

A: This is a very broad question. In general, personally, it is an amazing experience. As it relates to ethics, it is like anywhere else. There are good guides and outfitters and bad ones. Ensuring you book with one of the ‘good guys’ is an important part of your homework.

As long as you choose carefully, an ethical photo safari in Africa is an important support of local economies and emphasizes the need to protect animals for ecotourism. There is ample evidence that wildlife viewing and tourism provides more economic benefit to a community than hunting/poaching, in areas all around the globe. By traveling to see wildlife and supporting ethical local businesses, you incentivize communities to protect these animals.

Q: Do you have recommendations for respectfully photographing wildlife if it comes into your backyard?

A: Ethical photography in your yard is the same as if you encountered an animal in the wild. Respecting the fact that there is a wild animal in your presence and doing all you can to avoid changing its behavior or stressing it should be the goal (right alongside capturing amazing images of it!). This may include shooting out an open window or from a blind, or setting up trail cameras for photographs or video.

Q: What would Melissa consider a reasonable setting for photo location that shouldn’t jeopardize the wildlife?

A: MG: I don’t know if I would identify settings as much as practices, which we went over at length in the video. If you’re talking about captive facilities, never support roadside zoos, petting zoos, photography game farms—any facility that exists solely to profit off the backs of animals. If you want to photograph animals in captivity, choose AZA-accredited zoos, and sanctuaries that are accredited by the Global Federation of Animal Sanctuaries.

Q: Care to talk about the ethics of the film “Grizzly Man”? Timothy Treadwell, the subject of the film, considered himself a bear conservationist. But Werner Herzog’s motivations for making this film are less clear.

A: It has been many years since any of us have watched it. We’d have to watch it again to give a more thoughtful answer to your specific question.

Q: I’m acting as advisor for a lodge where I live and they told me that there is a resident Common Black Hawk that sometimes eats kitchen scraps (chicken skin, etc.). Should I encourage them to discard their scraps in a place that’s inaccessible to the hawk?

A: This would be our recommendation. Feeding any wildlife human food can be dangerous for a variety of reasons, from disease, to habituation, to the hawk becoming dependent on this food, and others. It is always best to dispose of garbage in ways that are inaccessible to wildlife.

Q: Do you have a list of ethical groups/programs/guides for people who would like to attend/experience these kinds of opportunities?

A: There is not a ‘list’ that we know of. The best advice we can give you is to call each guide you want to consider and ask the very direct questions you want to know the answers to:

“Do you use bait in your workshop?”
“Do you use any kind of audio or visual lure to bring in animals?”
“Does your workshop use captive animals?” Etc.

For a longer discussion of this, please see Daniel and Sarah’s NANPA blog post: http://www.nanpa.org/choosing-an-ethical-photography-workshop/

And this article by Melissa for Outdoor Photographer magazine:
https://www.outdoorphotographer.com/pro-perspectives/melissa-groo/how-to-choose-a-wildlife-photography-workshop/

Q: Is there, in your opinion, a right way to use drones for wildlife photography, or predator photography specifically?

A: We are not drone operators so we can’t speak from experience on this topic. What we can say is, understanding an animal’s behavior is critical here. If you notice an animal’s behavior change due to the drone, it is having influence on it and you should consider an approach that minimizes that disturbance.  And anytime you’re talking about drones near nests or dens, that’s a pretty clear-cut thing to avoid. Any animal will see that as a direct threat to its young.

Q: What advice might you have to find where to locate a good spot for wildlife like coyotes?

A: This is hard to answer not knowing where you live, but in general, coyotes have found their niche in just about every habitat. They are in the forest, on the beaches, from snow to desert, even urban areas like downtown San Francisco. Many of the National Parks have coyotes such as Yosemite and Yellowstone. They are a heavily persecuted animal so are typically skittish of humans. But they are in every state so a bit of research should net you an opportunity not too far away.

And if you want to see coyotes in Northern California, you can go out on a tour with Daniel Dietrich (Point Reyes Safaris)! You will have a terrific chance of seeing coyotes!

Q: What advice do you have for folks interested in starting in wildlife photography who wish to remain as ethical as possible from the start?

A: Using many of the techniques we mentioned in our talk would be a great starting point. Using blinds, understanding behavior, purchasing a telephoto lens so you can photograph from a distance, never baiting or feeding animals for your photography are a few good ones. And share your knowledge with those that may not understand the impact of their actions when photographing wildlife. Please be extremely careful with dens or nests, and the young of any species.

Some articles Melissa has written on ethics can be found here:
https://linktr.ee/melgroo

Also, see this Outdoor Photographer article on photography of fox dens:
https://www.outdoorphotographer.com/pro-perspectives/melissa-groo/how-to-photograph-a-fox-den/

Q: Any advice specific to underwater photography?

A: Many of the same advice for predators is applicable for underwater photography. There are also additional important considerations like use of a flash, or collateral damage to coral, that any underwater photographer should familiarize themselves with. Understanding the animal’s behavior, trying to not change this behavior, not feeding animals for your photography, etc. We three are not underwater photographers so perhaps that would be a better question for the Filipe DeAndrade’s of the world. 🙂

Q: Can game farms be closed? This is awful. It’s exploitation and should be illegal. What can be done?

A: There are many people working to end game farms. The best things you can do is to help educate, spread the word, don’t support workshops or images that use them, and to find and support organizations and politicians who will work proactively to address this issue. And don’t support photographers that use them. We need to start perceiving and caring about the ethics of individual photographers, and to turn away from them and their practices if they are unethical, or support and applaud photographers for going about their craft in thoughtful, respectful ways.  Also, make sure that any photo contests, local or regional or state, explicitly forbid images taken at photo game farms. This is particularly needed for camera clubs.

Q: Is it possible for an NGO to create an ethical photog rating/credential system so that one day all people will know whether to trust certain photos?

A: There are efforts such as AZA-accredited facilities. But what you ask would be wonderful and incredibly challenging. It would be wonderful but a massive amount of work and oversight.

Q: Any thoughts on sharing the exact location and time of pictures taken? How do you safely release pictures of predators while still protecting them from people who may seek them out for hunting or other harmful purposes?

A:  Most importantly, do not share exact locations, times or landmarks that would identify the location. Wait a fair amount of time to post the image, especially for vulnerable species or babies. For example, if you found a coyote den, don’t post pictures of the babies until they have vacated the den. Same with nests, wait until they fledge. Melissa recently wrote up some tips for folks on how to strip location data from images. And other tips on how to keep animals safe online. It can be found here:
https://www.audubon.org/magazine/spring-2021/tips-being-responsible-bird-photographer-social

Q: Here in Parkdale, Toronto, I have noticed “wildlife” photographers using apps that have bird calls and bringing speakers to use them. Is this an unethical practice? What about setting props for birds like branches and such? I am new to wildlife photography, so I want to build the right base.

A: These methods are grey areas and are heavily debated by many. I personally believe it boils down to the safety of the animal. Do what you think has the least impact on the species you are trying to photograph. Responding to a call causes an animal to use valuable energy, that it would otherwise have for finding food, hunting, or survival. Addressing calls, we personally don’t use them. We won’t use them. If people do, I hope they would use them responsibly—for example, don’t ever use them around nests or during nesting season. If you ever called a mom off a nest and a raven came in and stole a baby or busted an egg, you’d feel pretty bad. But you may not know this happened if you didn’t know there was a nest nearby.

The three of us personally don’t think we should ever expect or compel wild animals to perform for us. Their lives are hard enough, without having to defend from imagined competitors (same-species calls) or predators (owl sounds). Melissa took a weekend workshop when she first started out in which the leader heavily used calls to bring in warblers to perfect perches. At the time she was thrilled to be getting shots she never could have without that. But knowing what she knows now, she could never do it again.

Q: It would be good to mention that the purchased raised mice used by folks for their owl photography are filled with medications and antibiotics which could hurt the owls’ health.

A: This is very true. There are many reasons not to use purchased mice, this being another very good one. Not to mention salmonella, which many pet store mice have been found to carry.

Q: What about calendars sold at stores that have wolves and other wild animals? Would you support that and buy them?

A: If the calendars were shot by ethical means, then yes. If they were taken at a game farm, then no. Have a good look at the images. If there are images of a bobcat on a log with babies inside the log, they are most likely from a game farm. If a mountain lion is jumping from one sunlit rock to another, it is likely a game farm. If the animal looks like it just came back from the salon, it is likely a game farm. Look at the photographer’s Instagram feed or website. If they have lots of game farm images, support another. And contact the organization that created the calendar to advise them that it appears they are using game farm images—many organizations (both for-profit and nonprofits) don’t know the issue exists or how to identify images obtained by unethical means. Spreading awareness is key.

Q: Do you think that wildlife photo contests are contributing to unethical practices to get that perfect shot—especially if cash prizes are involved?

A: That is a good question—and they can. There is a competitiveness that makes some photographers feel like they have to top the last winner or have to get wildly creative to win, which could compromise ethics. There are several unethical, highly public instances like this. Saying that, contests can show some amazing creativity and behaviors that were captured with completely ethical approaches.

Photography contests, like social media, have had a huge impact on photographers and their desire to up the ante. Fortunately, contests have become much savvier over time about how shots are acquired, and both in the ethical guidelines being tightened up, and the judging process being more careful, there is less unethical stuff getting through—among the prestigious, well known contests, at least.

Q: How can people without a platform spread awareness [about] ethical photography?

A: You can discuss these topics in your local photo clubs, discuss this with your photography friends, you can lead by example in the field, you can support magazines, guides, tours that operate ethically, you can write letters to editors of publications, comment on online articles. Please, if you belong to a camera club, educate them about photo game farms. Many camera clubs still allow these photos in their photography contests in the captive section. This is a big problem.

Q: What do you think of backyard bird feeder photography? And thank you for opening my eyes to the unethical capture of photos.  I had never heard about this before.

A: Perhaps this could be combined with the same question, above?

Q: How are magazines and websites that are known for their nature photography (i.e., National Geographic, Outdoor Photographer, etc.) responding to the proliferation of game farm photography?

A: Melissa Groo recently wrote an article on ethical photography, including a discussion of game farm photography, for National Geographic. Daniel has had multiple discussions with the magazine concerning the sourcing of non-game farm images as well as written about this topic for Audubon. So I think we are making progress with magazines and websites and they are seeing the value in making these more informed decisions.

Melissa also writes a bimonthly column on wildlife photography for Outdoor Photographer magazine and has covered this issue extensively. A couple of the columns that address that are titled:

Shortcuts That Shortchange Wildlife Photography

https://www.outdoorphotographer.com/pro-perspectives/melissa-groo/shortcuts-shortchange-wildlife-photography/

Wild In Captivity?

https://www.outdoorphotographer.com/pro-perspectives/melissa-groo/wild-in-captivity/

Q: What do you do when you are wrongly accused of doing something unethical?

A: Great question. I [DD] recently had someone accuse me of something and had to show them that I wasn’t even in town when the event happened. It does happen and it can be frustrating. If it is online, you can add a comment to the thread and then ask the poster to discuss the thread with you privately in hopes of convincing them to take it down. You can blog about the experience in hopes of reaching the audience you’d like. And if it is in person, you can explain the situation to the person making the accusation, to facilitate their understanding of the situation. But sometimes there are cases where there is little you can do to right the wrong. Good question and a tough one.

Q: How do you handle a guide on a safari vehicle who is not approaching animals in the most ethical/sensitive way? Some of the camp guides in some areas are better trained than others—how do you speak up politely but firmly?

A: You certainly can ask your guides to please be respectful of the animal’s space. Certainly if it is a private guide, you can do so on the spot. If it is a group safari, perhaps you can ask to speak to your guide privately after a drive. If they respond, great. If not, taking your business elsewhere in the future and your reviews will speak firmly. Another option is consider having a conversation with guides before even going out to let them know politely what you consider acceptable practices and unacceptable, while in the field. That way you can avoid any difficult situations.

Q: Have you found people are receptive when you confront them nicely in the field? I observed a workshop leader once lead his group into a field of wildflowers right past the sign that said no entrance to the area. So the same concern applied to landscape photography. I messaged that person after the fact and their response was to block me from their social media account. So not receptive to questions of their practices!

A: We have found it to be very mixed. Some people respond nicely if approached nicely. Some are aggressive. So we need to be careful. Your story is quite sad. The blatant disregard for posted signs like that in a sensitive area is disappointing.

Q: Do you think that we could reintroduce megafauna into the wild in areas where they were once extinct using this method—like getting bison back on the East Coast or jaguars in Arizona and wolves in New Jersey. This would help with overpopulation of many animals. Do you think this kind of photography can help endangered animals?

A: The reintroduction of species is a complicated question, best addressed by biologists. And different parts of a community may have differing levels of receptiveness to this concept—for example, the reintroduction of wolves. Certainly wildlife photography can show the benefits of restoring ecosystems to their functioning levels prior to the eradication of certain species by humans.

Questions specifically related to equipment/blinds:

Q: Will you all [share] info about the equipment you use?

A: Daniel shoots Canon 1DXMII with 600mm and 100-400mm lenses. For video work a RED cinema camera with the same lenses. Melissa shoots mostly Nikon D850 and D5 with Nikkor 600mm f/4, and teleconverters, as well as the Nikkor 500mm f/5.6. Sarah shoots with Nikon D500 and D850, typically with Nikkor 500 mm f/5.6 or Nikkor 300 mm f/4.

Q: What lenses would you recommend to beginning photographers so that they can keep a distance that is safe for the wildlife?

A: Starting out, a 300 mm lens is great, or something with a range—like 70-200 or 200-500. There are other considerations in selecting a lens—like cost and weight, in addition to the focal length. And if you are shooting on a ⅔ frame camera, the distance on the lens is multiplied by 1.5, so a 300 mm lens becomes the equivalent of 450mm (there are other trade-offs for full-frame vs ⅔ frame camera).

Q: What lenses do you use? The longer the better, I’m sure.

A: Typically a 600 mm f/4, or 500 mm f/5.6, sometimes with 1.4x teleconverter attached.

Q: What type of photo equipment do you all prefer? Nikon, Canon, etc.? Do any of you use a mirrorless camera to minimize the noise?

A: Daniel uses Canon, and Melissa and Sarah use Nikon gear. None of us has a mirrorless but Melissa is hoping to make the switch sometime soon simply for the silent shutter. The audible shutter can be pretty disturbing to wildlife and she is eager to be rid of it.

Q: Any recommendations on cameras with telephoto lenses under $5,000?

A: It depends what you are shooting, but for wildlife, the Nikon D500 camera body with the Nikkor 300 mm f/4 is a great combination for starting out.

Q: What are some of the bells and whistles of these blinds that help the photographer?

A: Please see specs at the web site here:
https://photographyblinds.com/products/tragopan-photography-blind-v6

Q: Do you recommend getting permission prior to using a blind on public property? I do a lot of photography in county parks in a suburban area, and I think it might make other park patrons uneasy if they’re not familiar with the practice.

A: We would definitely seek permission, or it might be removed by staff when you’re not there. If you have permission, you can make a sign and laminate it and put it on the blind with your name, and telling people why it’s there, to keep out, etc.

Q: Given how expensive wildlife tents can be, what are some alternatives that you guys recommend?

A: Go to your local Agway or other store that sells farm/garden/hunting supplies and find a pop-up hunting blind. You can get them for about $50.00.

Q: Do you have any suggestions on leaving a hide out on public land? My issue is that often times the locations where I shoot wildlife are in the wilderness, and I’m afraid that the hide will get stolen or removed. How do you go about overcoming this?

A: We don’t suggest doing that except in pretty special situations where there is very little foot traffic. Just too possible that it would be stolen. And some places may have different regulations, so you would want to find out, if you plan to take the risk. Melissa only leaves her blinds on private land, either her own, or with permission from the landowner if someone else’s. Something to consider using on public land is a more portable blind, like a body blind.

Q: What are the most humane and ethically sound tools/gadgets to have to protect yourself (just in case) from some of the larger predators like bears, mountain lions, or wolves?

A: First and foremost, it is important to stay a safe distance from wildlife. With respect to larger predators, attacks on humans are relatively rare and tend to occur when an animal is surprised or protecting its young. You can hike with bear bells until you reach your destination. Best to carry bear spray if you are hiking or photographing wildlife in bear territory (this is for brown or black bears; polar bears require additional precautions). It is important to always be aware of your surroundings.

Questions specifically related to Game Farms:

Q: What about a place like Northwest Trek Wildlife Park in Washington—it is like an outside zoo.

A: With each captive facility, look up the about page. Are they accredited at all? Though many of us may not approve of zoos, those that are accredited by the Association of Zoos & Aquariums (AZA) at least are held to fairly high standards of care, conservation, education and more. Don’t confuse that though with the ZAA (Zoological Association of America) which was created by a coalition of roadside menageries to sound like AZA but is vastly different. And sanctuaries accredited by the Global Federation of Animal Sanctuaries are always wonderful.

Melissa looked Northwest Trek up and it’s AZA accredited so that’s good. Melissa also likes to look at TripAdvisor reports on places, because those typically offer unbiased comments and impressions that can be revealing.

Q: Does Project Coyote sponsor legislation to stop this? I am a very active wolf activist and did not know about this.

A: We are not aware of any legislation. Some photographers are leading reform efforts but it is Project Coyote’s position that reform is not enough and these facilities should be completely abolished. If it is determined that there are opportunities to support such legislation in the future, Project Coyote will support them.

Q: Besides spreading the word about the truth behind game farms and those kinds of “perfect” photos, is there an active/direct way to help denounce these farms?

A: If you live near them, you can write letters to the editor of local publications or make posts on social media exposing their practices. You can also write reviews on Tripadvisor and similar sites, making the unethical practices known.

Q: Are there any organizations or campaigns against game farms that I can support/fund?

A: Not at the moment, but we will keep you posted.

Q: To the panelists: When you encounter a photographer or guide employing these horrifically unethical tactics, would you confront or report them? And/or, is there some systemic way of eradicating these practices (e.g., organization pressure)?

A: See response above to similar question.

In terms of a systemic way, one idea is: make sure that any photo contests, local or regional or state, explicitly forbid images taken at photo game farms. This is particularly needed for camera clubs, which still give awards to these kinds of images, because they are so “perfect” looking.

Q: As a graphic designer who uses a variety of resources while sourcing materials—I had no idea about the photography farms. I’m horrified. I’m wondering if there’s ANY way to separate the truly wild/natural shots from the painfully and unethically curated workshop images when searching for stock pictures? Any advice? Thank you for this eye-opening presentation!

A: Our presentation gave some examples of ways to tell when an image is likely from a game farm. Another option is to directly ask the photographer how the image was obtained, or try to source photos from photographers whose work you know is ethical.

Q: Is there a good way to tell if a photo has been taken on a game farm, in addition to the examples given?

A: Does it look too good to be true and the photographer gives no information other than to identify the species? Look deeper. Ask questions. Look at the rest of that photographer’s work. Are there other similar shots, perfect looking, of elusive predators, posing nicely? Running at the camera? Having many of these shots is a likely indication of someone who is shooting at game farms.

Q: Do you classify Rehab Facility or Education Bird Photo Shoots differently than Game Farms?  I’m thinking that these places are far more responsible in regard to their treatment of the animals they care for, which cannot be returned to the wild, than the Game Farms you discussed.

A: Birds and other animals that cannot be returned to the wild because they were irreparably injured or somehow tamed can be wonderful ambassadors. But breeding raptors expressly for performing for photographers, or falconers capturing them in the wild for this purpose, we feel is wrong. So it’s really finding out, each time you visit a place like this:

• Is the facility breeding animals?*
• Is the facility selling or buying animals?*
• Is the facility allowing the public to handle the animals?

If the answer is yes to any of these, that’s typically a red flag.

*Unless it’s an AZA accredited zoo that’s involved in the Species Survival Plan.

Q: Is there a list of game farms by state?

A: The main ones are Animals of Montana; Triple D Wildlife (in Montana); Minnesota Wildlife Connection.

Q: Are the game farms legal?

A: Yes. They have USDA exhibitor licenses. Getting such a license is an extraordinarily easy process that costs approximately $40. Which doesn’t mean anything in terms of what goes on at them after they’ve been licensed.

Q: Thank you very much for a really interesting talk! This has definitely opened my eyes to ethical photography! I’m a Zoology with Animal Behaviour student in the UK and I had no idea that photography game farms existed and what lengths people go to get the perfect shot in terms of luring etc. Would you say that a lot of unethical photography is aimed at predatory animals, and why do you think this is?

A: Because predators, given how much they are persecuted, and how secretive and elusive they can be, are for the most part (except in places like Yellowstone) very tough for photographers to find and get great shots of in the wild. It’s not impossible, but it means often investing considerable time and effort to get these photos naturally. So to be able to go to a captive facility that has trained animals that will perform for you, and appear to be in the wild, and then folks can go and share these photos all over social media and stock agencies, without telling the truth—unfortunately this has great allure to people who don’t know any better—or who just don’t care. It is an unethical shortcut to get shots that are otherwise very difficult to obtain.

Q: Do you know about these parks in Mexico and other Latin American countries?

A: We know mostly about photo game farms in the US. There is no question that these kinds of places will spring up from time to time anywhere in the world when people want to make money off elusive animals for photographers.

Q: It would be helpful to get a call of action and petition to get these game farms shut down. Who could we approach?

A: Please follow all of us on social media and when we know of any chance that can use your voice, we will make a call out.

The future of one of the game farms, Animals of Montana, is being decided soon by the Montana Supreme Court. You can read more about this here:
https://www.savingthewild.com/news/will-the-supreme-court-finally-shut-down-animals-of-montana/

Q: If you have aerial photos of these bad ones why isn’t anyone fighting to immediately shut them down?

A: Unfortunately, many captive facilities in this country have horrific conditions for their animals. They rack up animal welfare violations. And yet they still operate. It’s a big problem.  Tiger King showed us that. We need better laws. Support the Big Cat Public Safety Act and other legislation that works to oversee ownership of predators. Don’t visit unethical facilities, from photo game farms to roadside zoos. I do think some organizations are working to gather info about the game farms, but things can take a long time.

As mentioned above, Animals of Montana has an open case. Montana Fish and Wildlife is trying to shut them down. The Montana Supreme Court will be making that decision.

See open case here:
https://dataportal.mt.gov/t/DOASITSDIBMDBA/views/DocketDetails_P/DocketDetailsDash?:showAppBanner=false&:display_count=n&:showVizHome=n&:origin=viz_share_link&:embed=yes&:linktarget=_parent&Case%20Number=DA%2020-0065