The women of Branch County Longbeards (Michigan) take the fun of Women in the Outdoors to a higher level. Some of the ladies strutted their stuff at the Polish Festival in Bronson. At their most recent event held in July, they offered classes on canoeing, shotgunning, turkey calling, outdoor photography, plant and wildlife identification, as well as outdoor crafts. The chapter also hosted a Camouflage Boogie in October, where the community is invited to dress up in camo and dance the night away to raise money for future women’s events.

The Tri County Longbeards hosted a Women in the Outdoors event at the Hilliard Ranch near Davilla, Texas, on June 27. This group shot was submitted by event coordinator Kim Godin.

The Mudwater Clucking Hens from the Elgin Wild Turkey Chapter in Aylmer, Ontario, hosted their 9th annual Women in the Outdoors weekend in June. More than 80 women attended the two-day event at the East Elgin Sportsman Gun Club. It’s the fourth year in a row the event has received Golden Hen status. According to event coordinator Wendy Flintoft, the chapter already is planning next year’s event for the weekend of June 19.

The Kentucky’s First Ladies Chapter hosted a Women in the Outdoors dove hunt on Sept. 5, in Cynthiana, Ky. Robin Gassett of Licking River Outfitters donated the hunt. Many participants were first-time dove shooters, so mentors from the Kentucky Department of Fish and Wildlife Resources and the Salt River Strutters Chapter were on hand to show them the ropes. Event coordinator Anita Hardin reported that the group harvested approximately 150 doves.

See the light with riflescopes

“I can’t see it, Dad,” said the boy, as he struggled to see light somewhere in the blackness of the scope on his rifle. He fidgeted some more on the bench. His dad, clueless on how to tell the boy to use the scope, said, “Well, I can see through it.”

Wrong answer, Dad.

I suffered a little when I heard that, recalling how not so long ago I felt the same way while looking through a scope on new rifle across a prairie in South Dakota. Fortunately, I had a patient teacher in my husband, and he taught me how to look through a scope and see the light.

First, remember your eye is the rear sight. You have to place it in the same place with regard to the rest of the gun every time to avoid a parallax error when using the scope. That’s called achieving a cheek weld against the stock.

Every scope has a quality called eye-relief, the distance behind the eyepiece lens where your eye should be placed to be able to see through the scope effectively. You have to place the cheek of your shooting eye against the stock; move your head forward and backward along the stock — always with your cheek against the stock — until you get the best view through the scope.

The best view is when the sight picture in the eyepiece lens fills the entire lens. As you move your head forward from the best viewpoint, the picture collapses and when you move your head back from the best viewpoint, the picture starts to get smaller and then goes black.

So, practice getting the same cheek weld every time you shoulder your rifle and you will be one step further in taking a good, clean shot. — Barbara Baird, the Gear Gal

What the heck is parallax?

In a riflescope, parallax is an optical illusion. Parallax occurs when the “primary image” of the object is formed either in front of, or behind the reticle (crosshairs) of the scope. When you move your eye from its proper alignment with the scope, the resulting parallax moves the image in relation to the crosshairs, causing your aim to be off.

Think of it this way. You’re sitting in the passenger seat of a car and you look over at the speedometer. It will read differently to you than to the driver, because you’re not lined up with the steering wheel and gauge in front of it, so you’re not getting the true reading.

Wildlife Photography: It’s All in the Eyes

What are the real secrets to taking winning wildlife photos? Here’s some insider advice from two experts: Pat Leeson, whose photos have graced National Geographic magazine, and Matt Poole, a U.S. Fish and Wildlife Service training specialist who teaches wildlife photography at the National Conservation Training Center.

Aim for feeling. “Any image that captures a feeling you want to save as a memory is a good photo for you,” says Leeson. “If you can get a photo that elicits the same feeling in other people, then you have a classic.”
Look ‘em in the eyes. “Photos are most effective taken at an animal’s eye level,” says Poole, even if that means you have to crouch.
Reduce background noise. Examples? “Out-of-focus birds right behind the one you’re shooting,” offers Leeson, “or a telephone pole or tree growing out of the head of whatever it is you’re photographing. People don’t see those things when they’re shooting. One mark between a pro and an amateur is watching out for the background and trying to get an angle where you can eliminate things that distract your eye.”
Go early. Return late. Light is important, and pros know it’s best early in the day and late in the day. “When the sun is low, the color of light tends to be a lot warmer,” says Poole. “It’s often called the golden light or the magic light.” Midday is often not a great time for photos because the overhead sun creates harsh shadows.
Go early and not just for the light. “If shooting insects like butterflies is something you’re excited about, you’ll be a whole lot more effective if you get there early in morning when it’s still relatively cool and when insects (because they’re cold-blooded, of course) are still relatively sluggish,” Leeson says.
Know your camera’s limits. Leave the full-frame bird images to the folks with killer optics and giant telephoto lenses. Less expensive cameras work better for landscapes and “overall scenes that incorporate the animal in some way,” suggests Leeson. “Or, try close-ups of more approachable things like butterflies and flowers,” says Poole.
Steady the camera. “Having a stable camera is everything,” says Poole, “which is why we always suggest that people use tripods.” Resting the camera lens on your car’s doorframe and shooting from inside the car also works well. Plus, both experts agree, animals are more likely to tolerate the presence of a car than a human — just have someone else drive.
Be patient with yourself. Even the pros fumble sometimes. The difference is they build in time for making mistakes. Pat and Tom Leeson may spend two months on an eagle shoot to anticipate the speed of a bird’s dive. “The first time it comes and flies right over your head and hits the fish, we were both standing there saying, ‘Oh my,’” says Pat Leeson. “But after you’ve seen it 100 times, you’re finally able to focus and be in sync,” says Poole. “The more you do it, the better you get, just like anything else.”
Respect your subjects. Baiting wildlife on a national wildlife refuge is illegal, as is altering wildlife habitat on a refuge. Additionally, keep a safe and respectful distance from animals.
Relish your time in nature. The perfect image may escape you. Don’t let the whole experience do the same. “I often worry that people are out there just looking at nature through the camera lens and not enjoying being out there,” says Poole.