Art & Creativity, Blog | March 15, 2010
In February, internationally acclaimed wildlife artist Dan Smith and his wife Liz spent two glorious days at the Earthfire Institute. Here is what they had to say about their experience. “We spent our time researching arctic and grey wolves as well as lynx. We enjoyed interacting with the animals in this peaceful setting and getting to know our marvelous hosts Susan Eirich and Jean Simpson. One of our highlights was meeting a 16 year old wolf 
named Windsong and learning her story. The compassion that Susan, Jean and their staff have for their animals is commendable.” You can see Dan’s paintings of Earthfire animals and others on his website.
Art & Creativity | February 24, 2010
When I tell people I’m a f
ine art photographer, they always ask what kind of pictures I take. I answer that lately, I’ve been photographing animals. They nod knowingly and add,”ah, yes, a wildlife photographer.”
Well, not really…
I’ve heard many professional wildlife photographers describe their process. Typically’ they use long lenses at a safe and non-disturbing distance, then wait for the right moment to “capture” the animal in its natural habitat. Their goal, some say, is to capture an image that is believable and descr
iptive.
My approach to taking animal pictures doesn’t have much in common with this method. To begin with, I’m obviously not interested in referencing the animal’s environment. I shoot up close – very close – with a wide angle lens, and frequently from below to get unusual perspectives. Finally, I’m not so much waiting to “catch” my shot as I am trying to manufacture it.
I do this by either cautiously dancing around with my subject to get him/her in my 
viewfinder. Or I crouch motionlessly two feet away while quietly talking, coaxing, cajoling – I’m trying to cut a deal so I can get him positioned just like I want. In some ways, my approach in making these photographs is more akin to performance art and snake charming than to traditional wildlife photographic practice.
My goal in producing this work is two-fold. As the photographer, I want to experience the full range of emotions that come from being, as is oftentimes the case, within touching distance of wild animals. The animals I photograph, while accustomed to human presence, are by no means domesticated. The thrill and excitement and connection that I feel when I’m next to these formidable beings is for me a very spiritual journey. I reach back to a distant time when my ancestors were in tight symbiosis with the creatures of the earth and I fancy, for just a moment, that I can actually communicate with them.
On another level, I’d like for these images to elicit a variety of emotions in the viewer as well. Certainly I’d like to elicit respect and admiration for the stately elegance of these creatures. But also, I hope to convey a sense of joy and playfulness…maybe a recalling of the pleasure and wonderment that animals held for us as children.
Artistically speaking, by isolating the subject against a nearly-bare background, and presenting these animals out of context, the innate power and beauty of their form becomes the subject of the photograph. In this way, these images can become iconic, transcendent, like cave drawings or the animal spirits that inhabit Native American lore.
At the same time, photographing from such close proximity also brings particularity and individuality to the animal, especially if the animal makes eye contact with the viewer. At this point, the animal goes beyond being a removed, iconic presence and becomes a palpable unique spirit as individualistic and valuable as any human counterpart. For me, it is important that both aspects of the creature be accessible to the viewer in my photographs as I feel that animals play a critical double role as inspiring archetype and sacred friend.
To find my subjects, I rely on research and word of mouth to locate people and institutions that will allow me to get as close as necessary to create my compositions. Meeting the kinds of people whose lives are intricately connected to these animals has been a real gift. I’m convinced there are some among us who really still can communicate with our animal brothers and sisters.
Jean Simpson of Earthfire Institute would be high among those suspected of still owning this skill. To watch him work with Major Bear (black bear), Windwalker (cougar), and Bramble (grizzly) is to witness something incredible that is a mix of uncanny sensitivity, primordial patience and a touch of voodoo. It’s clear he gets it.
Jean, along with Susan Eirich, Executive Director of Earthfire Institute, have devoted their lives to remaining connected to this wilder side of life, and to preserving and sharing it with all of us. As a photographer and an ordinary citizen of planet Earth, I’m eternally grateful for their mission.
Nine Francois,
photographer, artist and teacher
ninefrancois.com
Art & Creativity, Earthfire Stories, Retreats and Workshops | February 17, 2010
Watch as participants of Earthfire Institutes digital storytelling workshop go from technological panic or storytellers block to completing a passionately felt creative piece in two days. These stories are beautifully told in their own voice with Earthfire’s animals and the experience of meeting them as inspiration. For more information on this years Digital Storytelling Workshop led by Leslie Rule of KQED San Francisco visit our calendar.
Earthfire Experience with Bob Tondro
Penelope Smith Retreat Comments
