• PROOF:
  • December 3, 2014

Through Steve Winter’s Lens, Big Cats Step Into the Limelight

Author
Alexa Keefe

This post was originally published in December 2014. We’re resurfacing it as part of our #ThrowbackThursday effort to give some love to our favorite posts.—The Proof Team


“I didn’t choose big cats. Big cats chose me.”—Steve Winter

Steve Winter’s love affair with big cats began with a bird. He was in the mountains of Guatemala in the mid-1990s photographing the brilliantly plumed quetzal, his first natural history story for National Geographic, when he was awoken one night by a black jaguar nosing around outside his cabin door. “I was scared to death,” he recalls.

A few weeks after that nocturnal visit, he was in his blind, long lens pointed at the nest of the quetzal, when a jaguar crossed the frame, climbing up one side of the tree and down the other. Thirty minutes later, Winter got the shot of the bird he had been waiting months for. He then radioed immediately down the mountain to the naturalist he was working with and said, “I got the shot. I’m leaving tomorrow. That cat came back.”

Perched atop dinner, this four-month-old kitten survived a wolf attack that killed two littermates, earning her the nickname bestowed by Teton Cougar Project researchers: Lucky.
A four-month old cougar kitten perches atop dinner in the Grand Teton National Park region of Wyoming. From “Ghost Cats” in the December 2013 issue of National Geographic.

Despite Winter’s initial trepidation, the stage was set for what would become a career dedicated to the world’s big cats, starting ironically enough with a story about jaguars, which he pitched to the magazine himself. Six stories and over a decade later, he has become a master at combining artistic vision with a version of a tool used by scientists to gather data about animals in the field—camera traps.

Winter’s camera traps are custom-made by National Geographic photo engineering wizard Kenji Yamaguchi. Winter meticulously arranges these remote cameras so that when a cougar, tiger, jaguar, or snow leopard crosses the infrared beam and triggers the shutter, an image is created that shows the beauty of the animal in its environment and also reveals something about its behavior.

Winter recently shared his thoughts about cats—and birds—with Proof.

ALEXA KEEFE: Why do you a photograph big cats?

STEVE WINTER: A lot of these cats live in the forest. The forests are the lungs of the world, giving us the air we breathe. We need them. If we can save big cats we can save ourselves. How can somebody here identify with a tiger halfway around the world except for the fact that they love how they look when they see them in a zoo or in a photograph? I try to find a connection to our lives.

A tiger peers at a camera trap it triggered while hunting in the early morning in the forests of northern Sumatra, Indonesia.
A tiger peers at a camera trap it triggered while hunting in the early morning in the forests of northern Sumatra, Indonesia. To understand the chi—the strength—of the tiger, Winter says, “Look it in the eye while its alive.” From “A Cry for the Tiger” in the December 2011 issue of National Geographic.

ALEXA: Do you have a favorite cat to work with?

STEVE: I always say my favorite cat is the one I’m working with now. But the tiger is such an incredible, beautiful, majestic animal. You can’t look into its eyes without being moved emotionally in some way.

ALEXA: What is the advantage of using camera traps as opposed to photographing from a blind or a Jeep, as you also sometimes do?

STEVE: Camera traps will give you something no one has ever seen before. The ideal situation for camera traps is to be at eye level. If you are in a Jeep you are still looking down on them. It takes away their power.

A snow leopard
Striking a balance between the animal and the composition that makes the image into something unforgettable is an integral part of Winter’s process when using camera traps. “It was not until snow leopards that I learned how to make a photograph for me … like I was there taking the picture myself,” he says. From “Out of the Shadows” in the June 2008 issue of National Geographic.

ALEXA: Walk me through your process of setting up a camera trap shoot.

STEVE: I meet the local people and/or guards, show them previous images, and ask: “If you were going to use one of these cameras, where would you use it?” They may have ideas about a trail. I will walk that trail until I find a spot that has a view of the habitat. It is very important that you find a spot where you would say, “I would shoot this photograph without the animal in it.”

Compositionally it has to work as a photograph. You start learning the habits of cats. When someone tells me what a cat’s going to do, I think the opposite. What does your house cat do? Whatever they want.

Their big eyes are so well adapted for low-light vision that snow leopards can hunt in near total darkness—but they can still go hungry when humans compete for their prey. Though trophy hunts for wild sheep and goats bring income to local communities, they can deplete food stocks for snow leopards.
Photographing the elusive Central Asian snow leopard in the Indian Himalaya at altitudes of 17,000 feet made for one of Winter’s most challenging shoots to date. “I hate mountains and cold,” he says. From “Out of the Shadows” in the June 2008 issue of National Geographic.

You have to have an incredible amount of patience and, ultimately, faith that [after] all those days and weeks you spend learning where the animal goes, you are going to get your shot. The only thing you see is either a blank space or the body of your assistant [who acts as a stand-in when setting up the shot]. You have to believe this is going to happen. And the belief comes from spending all that time tracking and understanding behavior. I call it “zen and the art of camera trapping.”

That tail—fluffy as a muffler and almost body length—helps a snow leopard stay warm and keep its balance on hazardous ledges. These predators also help keep mountain ecosystems in balance by reducing the numbers of wild sheep and goats that otherwise might overgraze alpine grasslands.
Winter used his assistant as a stand-in while composing the snow leopard shoots, positioning him in places where the cat might go. “In the end,” Winter says, “It has to work as a photograph.” From “Out of the Shadows” in the June 2008 issue of National Geographic.

ALEXA: One of the signature elements of your photographs is the lighting, which at times is reminiscent of dioramas in a natural history museum. Tell me more about your approach.

STEVE: I use lighting to mimic the light that comes through the leaves, either during the day or night. You spend a lot of time looking at the scene, asking, How can I do this to make it look natural?

I like when people say it’s fake. I’m glad they think that because the time they’ve spent to say “It’s fake” is longer than they would have otherwise [have] spent looking at a picture of that animal.

ALEXA: Before the age of digital, you had to wait until the film from the camera traps was developed to know for sure if you got any pictures. What has changed?

STEVE: The fact that you won’t go frigging crazy. You know that you got it. When I was photographing the jaguar story, there were tracks in front of the camera. We came back to film review. I knew there was a jaguar. There was nothing on the film.

Now we can see. You have this huge weight that’s been on your back and then boom, it’s gone.

A jaguar on the hunt in Ecuador's Yasuni National Park trips a camera trap at a spot frequented by piglike peccaries, a favorite prey.
A jaguar on the hunt in Ecuador’s Yasuni National Park trips a camera trap at a spot frequented by piglike peccaries, a favorite prey. From “Rain Forest for Sale” in the January 2013 issue of National Geographic.

ALEXA: What would your reaction be now to the jaguar that first visited you almost 20 years ago?

STEVE: If a cat came to visit me today, I would still feel a sense of fear, but I would also think of how to photograph it—out a window or some other way of showing the cat’s sense of curiosity, wondering whether I am an intruder or a guest.

ALEXA: If you were to come back as a cat in the next life, which would it be?

STEVE: A tiger because they’re the king of the jungle. If cats weren’t in the picture, a bird.


To learn more about how you can make a difference and help save big cats, please visit National Geographic’s Big Cats Initiative and donate to our High 5 Give 5 campaign.

Steve Winter shares what motivates and inspires him to photograph the world’s predators in a video interview here.

There are 32 Comments. Add Yours.

  1. jose chavez
    October 6, 2015

    10, hermoso trabajo

  2. ravindra chitta
    August 11, 2015

    Class One Photografy

  3. Zacarias Sanchez
    August 10, 2015

    Beautiful photos. What were the camera settings and how can I get a job like yours?

  4. Chong
    August 9, 2015

    These photos are so awesome in many ways

  5. savio menezes
    February 23, 2015

    Beautiful shots Steve

  6. Lynda Sutherland
    February 1, 2015

    This was the third time I looked at these photographs and read the article, I love the whole thing!

  7. Lesiba Japhta Teffo
    December 18, 2014

    I love to see animals especially big cat

  8. juca
    December 15, 2014

    How rare to see a snow leopard–breathtaking, all of these photographs. Great questions in the interview gave depth to the visual story. well done!

  9. Edna Hall
    December 14, 2014

    Wonderful, I so enjoy all the pictures and look forward to them

  10. Jochen Tack
    December 11, 2014
  11. mele
    December 11, 2014

    oh great this picture i like it

  12. PAUL MOGFORD
    December 9, 2014

    truly inspiring, you must enjoy your work so much

  13. Georgina Patiño
    December 5, 2014

    Your work is really amazing!!

  14. Addison
    December 5, 2014

    i wish i had your job!

  15. Chesbeau
    December 5, 2014

    Stellar pictures! You have rightfully reached the pinnacle of nature photography with your work in NG!

  16. Dave Oz
    December 5, 2014

    The eye and patience of a master. If only we could convince the Elmer Fudds to shoot like this

  17. Sabine Kindschuh
    December 5, 2014

    Breathtakingly beautiful shots.

  18. Bob
    December 5, 2014

    MAJESTICAL CATS ARE MAJESTICAL

  19. Hubert Konrad
    December 5, 2014

    Fantastisch. Sehr beeindruckende Bilder. Danke

  20. David
    December 5, 2014

    Estupendo reportaje y fantásticas fotografías.

  21. Anupam Singh
    December 4, 2014

    These are absolutely majestic.

  22. lili
    December 4, 2014

    magnifiques toutes ses photos…

  23. vincent Smith
    December 4, 2014

    Love your pictures

  24. Kimberly Pineda
    December 3, 2014

    Hello!
    I think your job is really fantastic and amazing.
    I really would like to work with thise wild beautiful big cats.
    well, my dream is take into my arms a tiger or a baby tiger. They are the most beautiful and intersting wild cat.
    I hope you enjoy your work. God bless you.

  25. NIKHILESH MAHAKUR
    December 3, 2014

    As ever, insightful and shows the passion involved. Would love to read more from you on the camera trap techniques.

  26. Chiew Ting
    December 3, 2014

    Don’t know much about composition and photography at all, the photos sure look brilliant though. The reason behind why you do what you do and your love and respect for the animals is very motivating and truely inspiring. Thank you.

  27. Cindy A. Craze
    December 3, 2014

    All of these photos are incredible; they are the best wild animal shots I have ever seen. What I enjoy the most about them is how the photographer applies to each a unique and perfect balance of light and dark. This effect brings the subjects to life in a shockingly beautiful way.

  28. Mark Gilkey
    December 3, 2014

    I am pretty sure the lights flash only when the cat sets off the trap. They would likely not go into a lit area at night.

  29. Hetty Mensch
    December 3, 2014

    Fantastic. Very impressive. Thank you.

  30. jose s merida
    December 3, 2014

    i wonder if the lamps permanently on or do they flash when the camera trap is activated?

  31. Heather
    December 3, 2014

    I absolutely love your photos!! Beautiful cats, I’m so jealous!! Great work and please keep on doing great work and sharing!

  32. Selena Goforth
    December 3, 2014

    I am in love with these photography of these big cat. It shows there world in a whole new thing.

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