I think one of the more difficult things we do as wildlife photographers is choosing which subject to photograph and which to pass by. When you discover a potential subject, you need to decide if it’ll pave the way to an interesting story or if it will just wind up as another snapshot gathering dust on your hard drive.

I can’t tell you the number of times I’ve watched people fire away at a poor-looking specimen in bad light as it huddled behind a tangle of branches. The truth is, there’s not really a shot there at all, but they want to try to get “something,” even if it’s not great. 

However, there’s a hidden trap in that seemingly harmless photo session: 

It takes longer to capture a bad shot than a good one. 

I know that statement seems a little counterintuitive at first, but you have to consider how a bad shot plays out. 

It starts with a few initial volleys of the shutter, followed immediately by a lackluster image review on the back of the camera. So the hopeful, persistent photographer tries again – maybe from a slightly different position this time. A quick review yields another disheartening display of disappointing images. Then comes another move—maybe a tweak to the settings or a change of focal length – for yet another failed attempt. This usually goes on for as long as the animal or the photographer’s spouse will tolerate, and in the end, no one is happy about any of it.

And there’s the trap. It took quite a bit of time to capture that myriad of mediocre images. I’ve watched people spend hours trying to pry a photo out of a no-win scenario – time that could have been spent finding and photographing a better subject. 

The thing is, we only have so much time in the field – especially if the light is good – and we squander it at our photographic peril. If you have an hour of golden light at your disposal, is it better to try to capture an image that you know, ultimately, isn’t going to work out – or is it better to keep searching – even if there’s a chance you won’t find anything else? 

On the other hand, a good shot is comparatively effortless (usually). Often, the subject looks great and has a perfect foreground and background (or can, with a little clever positioning on the part of the photographer), and the shot is safe on the memory cards in less time than it took you to read this paragraph.

Of course, there are in-between areas here as well, where you come across a subject that initially looks like a lost cause but has potential if it moves – or if you find a better spot. It’s a fine line, to be sure.

The real trick here is recognizing when you have a lost cause and when you have a prospective winner. This of course takes practice and experience, but there are some tricks and I’ll outline them below. These are all with the assumption that you’re already operating in good light, and maybe time is getting tight. 

1. Do you already have this shot? 

If the opportunity in front of you is a shot you have a dozen times over in your portfolio, and the current scenario isn’t going to improve on it, it may be time to move on. On the other hand, if you already have a similar shot, but this situation looks like you might get something even better, it can pay to stick it out.

For example, although I have a TON of bison shots, I didn’t have any quite like this one so I was thrilled to stay and shoot 🙂

2. Do you like the specimen?

I know, this is shallower than a driveway puddle, but it’s something to consider. If your goal is a pristine specimen and you come across one that’s so ugly its mama fed it with a slingshot, then maybe it’s better to move on. Note: I realize that sometimes a war-torn individual can be a great subject. Ultimately, you need to like the animal in your viewfinder, and it should work for the story you want to tell. If it doesn’t, maybe move on.

What can I say? I like pretty pictures of pretty animals – like this lion below.

3. How common is the subject? 

For an ordinary subject, you need an extraordinary shot. 

The thing is, photos of common subjects are a dime a dozen. You can search “great blue heron” right now, and Google will smother you with thousands of mostly average shots of them. If you want your ordinary subject to stand out, you need an extraordinary shot to make it happen.

Also, don’t misunderstand—I’m not saying you should skip common subjects. Quite the opposite, in fact. I think the mark of an accomplished photographer is taking an everyday subject and capturing a shot that blows people away. However, if I’m confident that one of those special photos isn’t going to happen under the current circumstances, I’ll walk away.

On the other hand, if I encounter something rare, I’ll often stick around, even if the current conditions are not ideal, in hopes the animal will move to a more promising location.

Although pied-billed grebes are pretty common, I think this one stands out a bit because of the low angle, background, and of course, the splashing water.

On the other hand, the Caracal is super-rare, so we were willing to spend as much time as necessary with him.

How’s the habitat? 

Sometimes we encounter a subject we’d love to get into our viewfinder – perhaps even a rare one – but it’s buried deep in a tangled mess of brush.

In these situations, you have several options to consider.

First, look for a window through the cover; sometimes a slight change in position can turn a hopeless situation into a wall-hanger. If that doesn’t work, waiting it out can pay off, though this gamble costs time. The rarity of the subject and the available light can also help determine if waiting is worth the risk. If time is short or the subject is common, it might be wiser to move on.

However, it can pay to explore creative approaches before moving on. Can you capture a tight shot of the subject’s face or use a technique like high-key or low-key to create something unique? Also, consider the animal’s likely behavior—some species, like lions at sunset, are more likely to move, while others, like an owl in the morning, tend to stay put for hours.

In the end, if I don’t see a way forward due to habitat obstruction, I move on. Especially if I think the animal isn’t coming out any time soon.

From most positions, it was a no-go for this half-collard kingfisher, but sometimes you get lucky and find a window.

Is the subject cooperative? 

Animals are like people – each one, even within the same species, is different. Some are shy, some are reckless, and others fall in between. I’ve photographed subjects that seemed like they wouldn’t mind if I stopped to pet them, and others that ran or flew away at the first sight of me.

And sometimes those animals were the same species in the same place!

The problem arises when you encounter a subject that just doesn’t want to participate in a portrait session. Every time you point your lens in their direction, they flee. You spend the entire time looking at their exhaust port. It’s no fun, and it stresses the animal as well.

When I encounter an animal that just doesn’t want its photo taken, I tend to leave it alone. I may try a bit, but if it’s constantly turning tail and not allowing any kind of photo, I let it go and move on. The truth is, I very seldom secure any usable image in that scenario. More importantly, I think continually chasing an animal borders on unethical territory. Although I love getting my photos, I don’t want to terrify the animal in the process – there are plenty of other animals that are far more tolerant in the world.

Most of the horses in Theadore Roosevelt NP are very cooperative, making it fun to photograph them without stressing them out.

Let’s expand this list! Let me know in the comments what makes you stay or go when you spot an animal.