Bird studies with a camera

by Frank M. Chapman

The pose recalled Hudson’s experience with a wounded Least Bittern (Ardetta involucris, a near relative of our bird) in the marshes of La Plata, where a bird at his feet, in the same position as the one before me, was discovered only after careful search, and which, to the naturalist’s amazement, slowly revolved as he walked around it, with the presumable object of keeping its protectively colored breast turned toward him.

34. Least Bittern on nest mimicking its surroundings.

My bird, however, was among fresh reeds, and while one can not doubt the effectiveness of its attitude and color, when seen among dead reeds or grasses, neither were of value among its green surroundings.

With the light on the wrong side and the reeds swaying violently in the wind, we essayed to picture the bird, and the best of several attempts made under these adverse conditions are here given.

Covering my hand with my cap I held it toward her, when, convinced that her little trick had failed, she adopted new tactics, and struck at me with force and rapidity, which made me thankful that my hand was protected. Her bright yellow eyes glared with the intensity of a snake’s, and her reptilelike appearance was increased by the length and slenderness of her head and neck. Her courage was admirable; she not only displayed no fear, but was actually aggressive, and with a hissing hah struck viciously at my hand each time it was placed near the nest. As I quickly retreated on each occasion, and at length made no further move toward her, she decided to withdraw, perhaps to join her cautious mate, who from the reeds had been uttering a warning tut-tut-tut at intervals. Very slowly and watchfully she left the nest, and when she had advanced a few feet through the reeds I again ventured to touch her platform home, putting my hand, however, under it; but the motion instantly attracted her attention, and, darting back to her post, she was on guard in a moment. Then I left her, retiring from the field fairly vanquished in my first hand-to-bill encounter with a wild bird. I hope she laid a full complement of five eggs and from them reared five birds worthy representatives of their mother.

A desire to renew my acquaintance with—or perhaps I should say advances toward—this unbirdlike feathered biped, and to meet it under conditions more favorable for the camera hunter, brought me the following year (June 17, 1899), to the Montezuma marshes at the head of Cayuga Lake. Here are endless forests of cat-tails in which dwell not only Bitterns, Long-billed Marsh Wrens, and Red-winged Blackbirds, but also numbers of Pied-billed Grebes and Florida Gallinules.

There is a mystery about a marsh akin to that which impresses one in a primeval forest. The possibilities of both seem limitless. One hears so much and sees so little. Birds calling from a distance of only a few yards may remain long unidentified. A rustling in the reeds arouses vague expectations.

The notes of marsh-inhabiting birds are in keeping with the character of their haunts. They are distinctly wild and strange, and often thrilling. The Rails, for example, all have singular, loud, startling calls. The American Bittern is a famous marsh songster, but although several of his common names are based on his calls, it is only recently that he has actually been seen uttering them. The Gallinule resembles the hen in the character, volume, and variety of its notes, and to it and not the Clapper Rail should be given the name “Marsh Hen.” Indeed, its European relative, from which it can scarcely be distinguished, is known as the Moor Hen or Water Hen.

But of all this marsh music none to my ear is more singular than the call of the Pied-billed Grebe. It is mentioned in few books, and has won the bird no such fame as the Loon’s maniacal laughter has brought him, though as a vocalist the Grebe fairly rivals his large cousin. Like most bird calls it is indescribable, but perhaps sufficient idea of its character may be given to lead to its identification when heard. It is very loud and sonorous, with a cuckoolike quality, and may be written cow-cow-cow-cow-cow-cow-cow-cow-cow-uh, cow-uh, cow-uh, cow-uh. These notes vary in number, and are sometimes followed by prolonged wailing cows or ohs almost human in their expressiveness of pain, fear, and anguish.