Samantha Fischer is a Brooklyn-based photographer and longtime NYC educator whose passion for bird photography took flight during the pandemic. Inspired by Central Park’s famous Barred Owl, “Barry,” she has since photographed over 375 bird species and diverse landscapes worldwide. Samantha’s authentic images highlight the beauty of wildlife and inspire greater awareness of conservation. I had the pleasure to catch up with Samantha to discuss her wonderful work.
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Samantha, thank you for providing the time to speak with us! How did your relationship with photography start?
I grew up with a great fondness of the visual arts; raised by my father who was an extremely talented illustrator. I started with figurative sculpting and morphed to photography as it didn’t take up that much space. Actually, I have always been interested in photography. I remember in my undergraduate days enrolling in a photography class at my college. Unfortunately, it was overbooked and they asked people who weren’t art majors to give up their seats. I was pretty upset as I really wanted to learn the basics but I was an education major and felt it unfair to keep the seat. I always took a camera on my trips with my husband Jason, and mentioned in the past, that I would love to get into photography more. I would look at my photos and find the composition compelling but they were always a bit flat and I never knew why. Cut to the pandemic and I soon found out. Jason is in the NYC jazz business and one of his colleagues, the esteemed photographer Jimmy Katz, was holding jazz concerts in Central Park.
On one visit I brought my camera, and old Canon digital EOS T2i, as I heard there was a Barred Owl making his presence known in the Ramble (a woodland area known for birds). Once the concert was done, we found ourselves amongst at least fifteen of the Central Park regular birders. Their lenses were huge and all pointed skyward. I inched my way into the fray and set my eyes upon the first owl I have ever seen in the wild. It was a truly visceral moment. How could this beautiful creature exist in this small pocket surrounded by a cacophony of horns and motors? I pointed my measly lens up towards “Barry” the owl, hit the shutter and got nothing but darkness. If you could imagine, it was extremely distressing as everyone around me were chimping (assessing their shots on their screens) and getting the most brilliant of shots! What could I be doing wrong? Well, if there is one thing I can guarantee is that when a beginning female photographer asks for help from the surrounding men, she will get an overabundance of it.
Perhaps a little too much which then turned into accusatory yelling. “What do you have your camera on?” To which I replied, “On”. Then one photog decided to grab my camera from me and said, “Oh you are shooting on automatic? “You need to shoot manually!” “Up your ISO” “Lower your shutter speed!” “Lower your F-stop!” I am a proud woman and that moment certainly cut me down a few notches as I had NO idea what they were talking about. I was always of the mind to let the camera do all the work. You know, use the “push here dummy” button. Well once I took their advice, I got the shot. Well, it was a shot and it was of one of the most elusive raptors to the outside world. An owl. A Barred owl! It took my breath away.
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I walked away from that experience, exhilarated in so many ways. For one, nature has always been a magical place where there are so many things that just go unnoticed. At that moment I was let in. Sure, let in with at least 30 other people, but all of a sudden I was in another world and I felt like life was miraculous again. Another point was, I got the shot. I was able to work my camera on my own terms. I was able to capture a bird in the wild that 99 percent of the people in Central Park wouldn’t see. I did not understand the technical aspects of shooting at that moment but I decided that day to teach myself how to shoot manually by learning everything I could. That Barred Owl changed everything in my life. It made me become a student again at the age of 50.
You began photographing birds more seriously during the pandemic—what initially drew you to bird photography at that time?
After photographing “Barry” the Barred owl and spending at least five hours with him (we waited until he flew as dusk approached) I was hooked. Other birders started talking about all the birds one could see in Central Park. They talked about Autumn and the fall migration that would take place. I remember taking notes as if I were back in school, to remember all the birds to be seen and the spots to see them. Of course, this was during the pandemic and it felt so good to socialize outside with others who felt that our surrounding wildlife took precedence over all else. Birding saved us at a time when you could not go to museums, bookstores or restaurants. Here was an activity that created joy and was not detrimental to your health. Once the winter came, it did not matter how cold it was. We were all out there looking at a lone Snow Goose or a Bufflehead couple. At that moment, I found the visual arts to be outside of the walls of the MET rather than in.
As a long-time NYC Board of Education teacher, how does your teaching background influence your approach to photography?
Even though I am labelled, “teacher” I love to learn. With an ever-changing curriculum (at least 8 times during my 27 years) it is compulsory. Researching is extremely exciting and I try to foster the love of it in my students. I teach my students to write down what they learn, translate it into what they could understand, and to put that into practice usually when writing essays. When I started learning about the technical aspects of photography I took copious notes, drawing diagrams, creating subtitles, and making charts. Many random objects were my subjects, including my poor husband and cat. I studied the triangle method by adjusting shutter speed, ISO, and aperture while inside and out of the house. Snowstorms had me practicing capturing birds in flight while increasing the shutter speed, to allow the snow to literally freeze in the frame. It was hard to understand at first, ie. a larger F-stop number creates a smaller shutter opening. To get birds in flight, I needed a fast shutter speed, yet that would make my subject too dark. I kept researching “sweet spots” but after a while I saw that the only way to get better was by doing. A lesson I teach my students and one I needed to put into practice.
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You’ve photographed over 375 bird species worldwide. Are there any encounters that stand out as particularly memorable?
Just this month, my husband and I travelled to New Hampshire to see Common Loons in their breeding plumage. Loons winter in NYC, but they are a bit drab in their grey and white feathers; although they are still nice to see. There is something about seeing a bird in all stages of plumage. It is such a thrill. A loon in breeding plumage is a magnificent sight. Their iridescent black head shines with purple and green when the sun hits it just right. Their neck becomes a layer of black and white stripes that trade with a steady green. This all contrasts with their bright white chest. Their black wings become dotted with white. Their red eyes seem to pop. The way they hold themselves is incredibly majestic as they swim in the water. So we jetted up north, with a loon cruise on our agenda. The loon cruise was an 1.5 hour trip on Squam Lake.
There is no guarantee that you will see loons as they could be swimming, diving, or just plain hiding in coves. The scenery was beautiful with the green pines against the blue of the choppy water. Our guide spoke to us about the conservation of the local loons and their behavior. We ended up seeing two loon families and two other adults on their nests. The captain kept a bit of a distance away so as not to disturb the brood. The birder in me understood. The photographer in me was throwing quite the tantrum. My lens is long, but not enough to get the shots I wanted. I was so thrilled to see them, yet as I reviewed my photos on my camera’s screen, I was not that impressed. I thought that was my chance to get the shot and I just couldn’t get it. A couple of hours later we were driving on the road that bordered Lake Winnipesaukee, and my husband shouted, “LOOOONS!” I looked at him quizzically. “Loons by the side of the road!”, he yelled. Jason quickly pulled over to an area where the road split the lake into a small pond. Right before us, in the green-hued water, were two of the most magnificent loons I have ever seen.
We walked away from them so as not to cause fright and watched them frolic, swim, and dive. They swam underneath the raised road from their jade inlet to the choppy waters of the lake. I must have taken about 6oo shots of them. Another local female photographer joined me, telling me they come back to this spot every year. I just couldn’t believe our luck as this was most likely one of the few spots that allow such close proximity and we happened on it by chance. The loons were so close, yet did not care a spit about us as they were so used to the area. We still kept our distance, standing in awe at such a profoundly beautiful scene.
Another funny moment was trying to see the elusive and rare Red-cockaded Woodpecker in South Carolina. I had read an article about them years ago. Their numbers were dwindling, and conservation groups were trying hard to steady their population and bring them back into the pine forests where they once lived. The conservationists started creating homes for the woodpeckers by digging out perfect holes in Longleaf pine trees and restoring their habitats. They would also relocate some woodpeckers from populated areas into these new habitats. It started to work, and these woodpeckers began nesting. It took us four tries to see these birds. They like to hunt for bugs way up in the pines. The thing is, you have to listen in the quiet of the forest to hear their calls. Then you have your chance. The main place to see them is a place south of Charleston called Donnelly Wildlife Management Area. You are provided with a numbered map which even tells you the area where you might find these particular woodpeckers.
The Longleaf pines are marked with white paint, which signifies where they might be nesting. Jason and I visited on a day where they were doing a prescribed burn. This is done to make the forest healthier. We noticed the smoke in certain areas but kept on driving through. We called the office to make sure we could be in the area and were told it was fine. We got to the number on the map where the birds could be but saw and heard no one. Jason kept driving yet I was insistent that we should have waited. Jason was finally convinced, and we decided to go back. Unfortunately, we were on a one-way road. At this point, I should mention that my husband is a master of driving in reverse. The level of confidence he has is astounding, especially in a forest we have only visited twice. We ended up driving backwards for over two miles until we got back to the spot. Once out of the car, ears open, we realized the smoke was a bit thicker. Yet after all that driving, could we leave without getting a glimpse of the woodpecker? We stood laughing at how crazy we had become. How we now found ourselves in such strange, wild, and beautiful situations. It didn’t matter that smoke was around us, limbs were literally aflame, because we finally heard their call. There they were. Darting around the tall pines, calling to each other. They were disappearing in the man-made cavities and popping out five minutes later. We stood for a bit longer and then left them to it. Our hearts were full.
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What is it about birds and their behaviors that captivates you most as a photographer?
It seems as if another world opens up when you truly look at the behaviors of birds. I have seen hummingbirds in battle for territory and also mating in a nearby tree. Acorn woodpeckers hide their stash before my eyes. Common loon parents traded their spot incubating their two eggs. A juvenile Bald eagle cried for the fish its parent just brought. Belted Kingfishers rattle as they fly by, hunting. I watched a Red-bellied Woodpecker yell at an European Starling to stay away from his cavity. A female Baltimore Oriole grabs the fluff from a Cottonwood tree to weave her nest. It all amazes me and fills me with a sense of wonder. It makes me more empathetic and hyper-aware of what is around me. I want to be able to catch that magic that people might not get to see, with my photographs.
Your approach emphasizes never alarming your subjects or using flash. How do you ensure your wildlife photography remains ethical and respectful?
I have a love and respect for what I shoot. There is never a need to force the issue. Stillness and patience are key. I have had Little Blue Herons walk within inches of me devouring frogs and warblers flying around my head. Hummingbirds buzz so close I can hear their wings flutter. Although I don’t want to seem arrogant, there does seem to be a trust when you stay put for a long amount of time. I am not one to shoot a bird and then walk off quickly.
Can you describe your personal style of photography and how it has evolved over the years? At first, I wanted to document the bird so as to learn more about it.
I didn’t know a lot of the new birds so I would either use a field guide or the Merlin app when I got home. Once I got better at identifying the birds, I concentrated more on the composition and catching the birds in the act of living. I want the viewer of my work to get a glimpse into the subject’s world. My photos became more artistic rather than a catalogued entry.
How do you decide when the right moment is to take a picture, especially when working with unpredictable wildlife?
Once you spend enough time with a certain bird, you can predict what their next move might be. There are certain warblers that will dance on the leaves of a tree feasting on insects. I just wait, knowing eventually they will end up in my camera’s eye. I do have to contend with light, haze, leaves, etc. so I might not even get the shot I wanted if the bird has other plans. One does need to shoot on high speed and take a lot of images. At times I might have hundreds of images of a scene and end up with only a handful that make the cut.
How has bird photography deepened your understanding of environmental issues and conservation?
Spending time in local, state, and national parks as well as Audubon Centers, allows me to meet the awesome rangers working there. You can learn a lot from a park ranger or the ubiquitous signage. You understand that what we might take for granted, is desperately needed by our ecosystem to thrive. For instance, I now have an extreme hatred for leaf blowers as they take away much-needed meals for birds as insects hide under the leaves. I used to love tall buildings that had reflective glass windows, as they looked like a continuation of the sky. Now I know that birds see that continuation and fly into the glass, causing fatal consequences. Who doesn’t enjoy a beautiful fireworks display? I don’t, as I have learned that the noise and lights create anxiety in birds and make them abandon their nests.
I also learn a lot about bird conservation from Wild Bird Fund in NYC. They are our local rehabilitators who work around the clock to save birds who come into problems in our city. I have brought injured birds to them and called them when needing advice.
Travelling allows you to see that our environment is changing rapidly. I travelled to Klamath Falls, Oregon, which is known for its massive wetlands. Around 350 migratory birds stop in the area to rest and fuel up. There were supposed to be large water-filled basins, yet most were dry because of drought and agriculture. The same was observed in southern Spain when a guide alerted me that most of the dry land we were walking around used to be lakes.
On the positive side, I am learning about replacing invasive or foreign plants and trees with indigenous ones to attract our pollinators and wildlife back. I am learning about people who have bought large tracts of land or leave their land to the local wildlife. Paton Center for Hummingbirds, in Tucson, Arizona was a modest home with some property opened up for birders while the owners were alive. They did this because so many of the small birds visited their property. When they passed, their children decided to keep it open to the public as a birding haven. In Florida, the Florida Scrub Jay population was decreasing so a 140 acre sanctuary was created from a turpentine mine and named after two Audubon personnel who worked on establishing the Merritt Island Refuge. There is so much to know about the challenges that birds and wildlife face and I wouldn’t know most of this without birding.
Finally, I have used this knowledge to create changes in my building. I was able to convince the board to allow stickers on the building’s huge hallway windows to prevent bird collisions.
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Your motto is, “We see what we see.” Can you share a story where this philosophy shaped your experience in the field or a particular image?
When I started out birding, I had no problem saying, “we see what we see” as everything that I saw was completely novel. Every movement or call brought my attention to a new magical experience. Just walking, conscience of my senses, allowed me into a world where I first saw a Bald Eagle in Brooklyn, whose tag called him Rover. I was able to really enjoy watching Belted Kingfishers fly up and down the Delaware River in Bucks County by just standing in stillness near the banks of the river. After five solid years of birding, I truly try to stick with that motto but it has been increasingly hard in this modern birding world. Besides all the technology alerting you to the rarities found locally, you might run into a fellow birder who rambles off a list of birds just seen in the area. It is so hard not to “twitch” which means to drop everything and run to see a certain bird. I’m not going to lie, I have twitched twice, both times for vagrant hummingbirds. I wouldn’t even say I ran, more like scheduled a visit. The first was a Black-chinned Hummingbird, which I ironically got to meet a couple of months prior in Tucson, Arizona. He just happened to stop at Randall’s Island in NYC.
I absolutely love hummingbirds so I needed to go and so did about forty other photographers! I did get to see him, in some flowers, near the lovely public bathrooms. Nevertheless, the experience had me elated as a Black-chinned is only found out west. I guess the weather and the winds threw him off his course. The other case was for a Rufous Hummingbird, another tiny bird that should be out west. This one showed up during the winter in Prospect Park, Brooklyn. It took a couple of visits to see him, but when I did, it was incredible as I have never seen a hummingbird around snow. This led me to read that Rufous Hummingbirds can be found as far north as Alaska, which allayed my fears that he would freeze to death. My travels are now booked with birding as the forefront, and I do use eBird to see what will be around but I really would like to stick with the motto as it could all make you crazy and competitive. That is not why I started birding and feel like it disrespects the very idea of being in nature.
How do you balance capturing a compelling shot with your commitment to minimal post-production and natural imagery?
Over the years I have learned how to use my camera to its optimal performance. I make sure the lighting works and try my hardest to get the shot. You either get the shot or you don’t. I don’t believe in making a leaf disappear or oversaturate. It just isn’t natural. I wouldn’t want to misrepresent the bird. In addition, where would the skill lie if I could just edit everything? My work falls in between cataloguing the bird and creating an artistic still. I like what my husband says- crop and stop. That’s pretty much what I do.
What role do you hope your photography plays in fostering empathy and awareness for wildlife?
I am lucky to be able to participate in art shows throughout the year. People will stop to view my work, and it starts a dialogue. A lot of people don’t realize that these birds could be found in their own backyard. I feel that once the viewer interacts with my work and questions me, they start to care about the subject. I hope that my photographs open a world to others that perhaps they can’t be a part of at the moment.
For those new to birding or nature photography, what advice would you offer to help them get started and stay inspired?
Get out into the field as much as possible. Take it all in and notice the many patterns. Learn all the settings on your camera and practice. Also only compare yourself to others in a healthy way. If you see a photographer who gets amazing shots, aspire to do the same, but don’t be self-deprecating. You are on a path and you only need to move forward.
Can you share an encouraging message for other photographers who may be struggling to find their own style or voice?
Know who you are and what you like. Meditating, journaling or free writing can bring you to a place of creativity. Look to others and get ideas. Above all else, always believe in yourself and what you do.
Are there any common misconceptions about photographing wildlife that you’d like to address?
A while back, I had gotten a shot of a Red-tailed Hawk feeding her young in their nest. I posted it on a social media page and a woman responded by stating I was too close. I laughed at this because the nest was about thirty feet high up in a tree. Also, I had to stand about twelve feet away from the base of the tree to get the hawks in focus. A lot of people think you are standing right in the action and are disturbing the animal. I have a 400mm lens. I can get close from afar.
I get the feeling that people don’t put too much thought into what goes into getting a shot. The researching, the traveling, the standing and waiting, the weeding through thousands of photos at the end of the day, and then the editing. With the advent of the iPhone camera, a lot of people are under the misconception that photography is easy. It only takes a touch of a button to capture a subject with an iPhone. Yet photography is so much more.
How do you stay motivated and creative, especially after photographing so many different species and locations?
I hope this never changes, but I can be mesmerized by a Red-breasted nuthatch calling as he is creeping up the branch of a tree. The first Black and white Warbler of spring migration still gets me excited. I think the migratory patterns keep a birder captivated as each season brings something different. Plus, there are so many places to travel to and so many other birds to see. As a photographer, I still need to keep learning my craft, and perhaps my work will morph into something else as time continues.
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