I have a confession. I'm a scientist not only by training, but also disposition. I am organized, almost to the point of being compulsive. I have lecture notes from classes I took 10 years ago. My wife is still amazed that I organize my clothes by color...it makes it easier to find a particular shirt. I see the world in literal terms, ignoring the convoluted patterns that surround us, and focus on the details. This attraction to detail is what first brought me to nature photography, and still it influences my approach. My images are literal interpretations of what is in front of me. I love to show the sharp detail of a bird's feather or the grains of pollen on a flower. Recently, all that has changed.

This last year I found myself teaching nature photography to a group of talented photographers. My plan was to spend part of the course talking about creative techniques. Most of the techniques I planned on teaching are not in my normal bag of tricks. However, a teacher's job is to pass along information to the students, so they can decide what is right for themselves. So it was with some trepidation that I began my exploration into abstract and creative nature photography.

All wildlife photographers have taken blurred pictures. This happens when the focus is off, the wind is blowing, or the subject is just too quick. After throwing thousands of blurred slides into the trash, I began to wonder if I could blur images deliberately. By slowing down my shutter speeds I began to experiment with a creative study in motion. My first success occurred while photographing a hummingbird at the local botanical garden. After locating this female hummingbird's favorite perch, I dropped my shutter speed to 1/15 sec and waited. It wasn't long before my patience paid off. After landing on the perch, she would spread her wings and flutter with pent up energy. Time after time I pressed the shutter button, not knowing what results I would get. In the end I was rewarded with a single frame that epitomizes the energy of these little birds.

My next step was to explore multiple exposures, which is when two or more exposures are put onto a single piece of film. The precise method of obtaining multiple exposures varies with the camera, and I encourage photographers to look through their cameras manual to find out how this is done. Unfortunately, this is one area where film wins out over digital as very few digital cameras allow multiple exposures. Of course, images can be combined in Photoshop with relative ease.

The first step in taking a multiple exposure is to determine the correct exposure. Since the piece of film will be exposed to light more then once, it is necessary to underexpose each individual image. The trick is to determine how much underexposure is needed. There is an easy way to do this.

• I determine the total number of exposures I plan on shooting as part of the multiple exposure.
• I multiply my film's ISO by the total number of exposures.
• I lie to my camera and reset the ISO to the calculated value.
• I meter as usual and start taking pictures.

For example, if I want a multiple exposure consisting of 8 images and I have 100 ISO film in the camera, then I calculate: 100 ISO film x 8 images = 800. I then reset the camera's ISO to 800, meter as I normally would, then take the pictures. Resetting the ISO value for multiple exposures is not the same as pushing film. Since the total amount of light reaching the film adds up to normal, the film should be processed normally. It is also important to reset the ISO back to normal once the multiple exposures are taken!

One of my favorite multiple exposure techniques is the Hallmark card image. This technique produces a halo like glow around the subject that gives it an ethereal quality. To produce this effect, make a double exposure (2 images on one frame), calculating the correct exposure using the method described above. With the first frame, I focus and use a smaller aperture (f/8-16) to bring out the detail in the subject. For the second frame, I reset the shutter speed/aperture combination so that the lens is at its largest aperture. I then turn the autofocus off and turn the focus ring until the subject is a blur through the lens. Only then do I press the shutter button. For the best results, I use a tripod and cable release. Being careful while focusing is important. While turning the focus ring, observe how out of focus subjects grow larger as the lens focuses closer. This means a more pronounced halo effect will be produced by turning the focus ring so that the lens focuses closer. Therefore, when setting up the sharp image, I keep the subject far enough away from the minimum focus distance so as to get a good out of focus effect.

While some multiple exposures are good, more have to be better. The total number of exposures on a single piece of film is only limited by one's patience and imagination. Some of my most pleasing results have come from placing 16 or 32 exposures on a single frame. For effect, I move the camera slightly after each exposure so that the multiple images do not quite line up. Through multiple exposures, a field of flowers can be transformed into an abstract rendition resembling a Monet painting. Through slight movements, the center of a flower becomes a blending of lines and shapes. Sometimes I add a twist. During a multiple exposure using a longer lens that has its own tripod collar, I rotate the lens slightly between each click of the shutter. The result is a kaleidoscope of shape and color that swirls before the viewer.

But what if the camera's multiple exposure control only goes up to 9 exposures? Despite this apparent limitation, it is still possible to take as many exposures as desired. I calculate the exposure based on the intended total number of exposures, set the multiple exposure counter to the maximum allowed, and begin shooting. When the counter indicates one frame remains, I reset the counter to the maximum, keeping count of the total number of exposures as I go.

Beyond the unique results achievable, there are other advantages to multiple exposures. Often, I do not need a tripod. Since the entire idea behind most multiple exposures is to have each image slightly out of register, hand holding the camera can give great results. Also, because of the fast shutter speeds involved (remember, you're often working with ISO rating of 1600 or higher) each individual image will be sharp even without a tripod. Frustrated that the wind never stops? No problem. The fast shutter speed will freeze the subject in each frame and the movement of the wind will help to keep each image slightly out of synch. Worried about film costs? When was the last time you could press the shutter button 1150 times and still be on the same roll of film?

A final effect that has become popular in other branches of photography but is rarely seen in nature images is creative zooming. Using slow shutter speeds and a zoom lens, I can produce images that literally draw the viewer in. I set the camera on the tripod and place a subject of interest in the center of the frame. During a long exposure (1/30 sec - 2 sec works well), I zoom the lens from one extreme to the other. The result will be streaks of color surrounding a central focus point. This technique works best with a strong central point of interest and surrounding lines that continue all the way out of the frame. I vary both the shutter speed and the speed of zooming for different results.

Experimentation with abstract photography has opened my eyes to a world of creativity. I encourage photographers to give these techniques a try, both to explore something new and to spark the imagination about what is possible. Once of the most exciting things about this type of photography is that the results are truly unique, and I never know what I am going to get until the film is on the light box. Sometimes I love the results, and other times I cringe and look for the closest trash can. And every now and then a true jewel will appear, making me grab my camera and head back out into the field.

Editor's Comment: Let us know what you think! Please email the Editor to let us know your thoughts.

Dr. Chris Gamel has conducted wildlife research around the world, including raptor biology in southern California, tropical reforestation in Australia, and wildlife management in Kenya. His behavioral study on Elf Owl habitat use in south Texas appeared in the Journal of Raptor Research. His work on Cape fur seal reproduction in South Africa resulted in a doctorate from Texas A&M University. He has published numerous articles on the natural world and recently served as an editor for Wildlife in focus: the coastal bend wildlife photo contest I.

In addition to his literary works, Chris is an accomplished photographer who has won recognition in both the Valley Land Fund and Coastal Bend photography contests. His wildlife images have been published in a variety of venues, including Birding, Wildlife in Focus: the coastal bend wildlife photo contest I, Creatures on the Edge: wildlife along the lower Rio Grande, La Prensa Grafica, and the Pitzer College External Studies Department. He has been an active member of the North American Nature Photography Association for the past five years. In 2002, Chris founded Animal Antics, an editorial service agency based in Salt Lake City dedicated to "sharing the beauty and biology of the natural world."