When you come right down to it, hunting is all about collecting memories, and even though the memories of the hunt remain in your head, nothing captures a moment in time like photographs do. No matter how good a story you tell, pictures are the best way to share the experience with your family and friends, too.

I go to great pains to get good photos of almost every game animal I kill, and my best advice is to get in the habit of taking the best pictures you can; the more you take, the better you'll get. Then, on those rare occasions when you shoot a really spectacular trophy, you'll have the gear, you'll know how to set up the shots, and you'll end up with a photographic record that will last the rest of your life. The only things worse than no photos are bad photos. Lousy pictures can result from poor framing, inadequate light, improper use of the camera, too much gore in the picture and a host of other infractions. All of these problems stem from one basic source--rushing the shot.

I've been with hunting partners and guides who didn't want to take the time to get a good picture. Perhaps I shot first and my partner is anxious to get on with his hunt. Perhaps daylight is fading and it's important to get the game taken care of and get back to camp. In hot weather you may not have a lot of time before spoilage commences, and in cold weather it's just plain miserable to mess around with cameras.

While the larger single-lens-reflex cameras are great for picture taking, modern point-and-shoots (center) do a fine job and weigh a heck of a lot less.

These are all valid concerns, but you need to set them aside and take the time to get it right. If time is of the essence, you can't mess around forever trying to set up the perfect shot. This is where practice pays off: If you know what works, it doesn't take all that long to set up really good, if not perfect, trophy photos.

Taking a good trophy shot is really a simple proposition. What's important is that the animal looks as good as you can make it. Pick a background that shows the trophy to its best advantage, clean up the animal, get the light behind you, frame the photo relatively tightly, make yourself presentable so as not to distract from the animal, and shoot a whole bunch of film. If you do these things, especially the last, you'll probably be happy with the result.

Cameras, Candidly
This article is not about choosing a camera. There are plenty of photographic magazines and camera shop owners who can help you with that. I do have one piece of advice that applies to everyone: Learn to use your camera by studying the instruction manual thoroughly.

Hunters should carry at least two cameras--especially on important hunts--as insurance against inevitable human error: You may forget to put film in the camera; your batteries may die and you have no spares; the operator (you or a partner) may not be able to use one of the cameras correctly. Good trophy photography is basic enough that the small point-and-shoot cameras will do just as good a job as the big ones, so two small goof-proof cameras are all you really need.

I use slide film for my magazine work, but most people are happier with print film, and that's what we'll deal with in this article. (You digital-image buffs can skip ahead a bit.)

Film is rated by speed, which is expressed in ASA numbers commonly ranging from 100 to 400 in print film. These ratings indicate how well the film performs at certain light levels. ASA 100 remains the best choice for daylight photography. For dawn, twilight or dreary days, ASA 400 will do a better job. If you're looking for a compromise, ASA 200 film is the way to go.

Film speed is also important because it's how the camera decides what exposure is right for a given condition. Almost all of today's cameras--especially point-and-shoots--automatically adjust to the ASA you're using. On older cameras, you have to set the ASA by hand. Read your instruction manual.

Pose the animal in such a way that its antlers or horns are prominent. Clean off as much blood and dirt as you can, and make sure the tongue isn't hanging out.

One of the most important features on your camera is the self-timer. I use my cameras a lot in this mode, not only when I'm alone but also so a hunting buddy or guide can get in the picture with me. The best way to use a self-timer is on a tripod, but you can build up a perfectly acceptable camera stand with packs, rocks, logs, whatever.

Composition, Lighting
The best background is none at all. Having just sky behind your trophy really brings out the size of its headgear. The next best situation is a uniform background--a green hillside or snow. If these aren't available, get your trophy as far away from the background as possible and focus on the animal. In most cases, the background will fade away.

In really tough situations, use yourself as the background. Camouflage is terrible for this, but blaze orange actually makes a pretty good background for antler points.

Maybe I don't fully understand proper lighting, but I do know two things: Too much bright light is bad; not enough light is worse. Direct sunlight is a problem, but that can be overcome by using a slow-speed film that likes a lot of light. Watch for harsh shadows, and take a couple of shots with the flash--even though it seems you don't need it. Hats almost always cast a shadow on the hunter's face, and daytime flash use (called "fill flash") will allow you to see the person's face in the final product.

The best light is the slanting light of early morning and late afternoon. The light source (the sun) should be behind the camera, but make certain you keep the photographer's shadow out of the picture. Bright, highly reflective surroundings such as sunlit sand or snow are really tough. If the light looks tricky, the best way to compensate is to take a lot more photos from as many different angles as possible, and be sure to take a couple with the flash.

The best trophy photographs are often those taken from a low angle. Get as close to the ground as you can, and shoot upward to get a great effect.

When it gets too dark to shoot without a flash, you have two choices: You can shoot with a flash, or you can wait until the next morning. The latter is the better option if it's possible. Obviously, the most important thing is to make sure that the meat won't spoil overnight, so this is purely a cool-weather option. You can field dress the animal, keeping the mess to a minimum, and prop it in a posed position. If spoilage is an issue, prop open the body cavity and get the animal up off the ground.

There are times you simply must take flash pictures of your trophy after dark. Most cameras have built-in flash units that permit decent flash photos, and you'll get the best results by taking a lot of shots from a lot of different angles and by varying the distance between the camera and the subject. If your camera has an anti-red-eye feature, use it. You'll still get a reflection from the dead animal's eyes, but the hunter's will appear normal.

Position the Shot
The best way to position an animal is to fold the legs underneath it and set it up on its belly. This will enable you to get the head a bit higher, which will accentuate the antlers or horns. With bears you will probably put the forelegs forward so that the claws show, and you may want to prop up the head with a forked stick (trying to set it so that the stick doesn't appear in the picture). Wild boar hunters often prop the mouth open so the tusks show, and turkey hunters spread the wings and fan.

Once you get the animal posed in a natural and attractive posture, clean it up. If water is available, use plenty of it to get the blood off. Make sure you pick the best side (exit holes are usually messier than entrance holes). You can disguise some blood with a bit of dust, and I often prop my rifle and arrange the sling strap over visible bullet holes.

Using a lightweight tripod and a camera's self-timer allows hunters to take photos of themselves on solo trips or to include a buddy or guide in the shot.

Pay particular attention to the animal's face. If you've made a good chest shot, you will probably have blood leaking out of the mouth, and it might be necessary to keep wiping it between shots. Take the time to do it. Whatever you do, make sure that the animal's tongue isn't hanging out--one of the greatest "no-no's" of trophy photography.

Take a look at the whole scene, including yourself, before the shutter snaps. Make sure you don't have blood on your hands or face, and take a moment to make sure your clothing is in order. The best place to position yourself is behind the animal but off to the side. You don't want to be the backdrop for the antlers or horns. If you can't easily reach out and touch the animal, then you're too far back. Use a minimum of hands and fingers to hold the trophy in position so you obscure as little of it as possible, and remember that you're just a photo prop. The animal is what matters.

A common fault, especially if you lay your rifle on the animal for the picture, is to have the photo appear as if the rifle barrel is pointed at your head or someone else's head. Be mindful of that when composing the shot. This is also a good time to state the obvious: Before beginning any photo session, make sure all firearms are unloaded.

QUICK TRICKS Clean the animal and put him in a natural position. Sit behind the animal. Put the antlers or horns against the sky or a neutral background. Keep the light behind the camera. Fill the frame.

Unless there's some background feature that you really want to capture, the goal is to fill the frame with the trophy, the whole trophy and nothing but the trophy. Get fairly close with a mild wide-angle lens--a setting between 28 and 35mm. Ensure that you aren't cutting off heads, rifle barrels, feet or anything else in the photo.

Usually the best shot will be from a low angle. I almost always lie on the ground to take a trophy shot, shooting up at the animal to accentuate it. The best course is to shoot from as many different angles as time allows. A careful look through the lens will tell you what you're getting. If someone else is taking your photos, never assume that they see it the same way you do. While they may come up with a good shot you didn't think of, always make sure you get the shot you want by checking the angle and zoom yourself. There are some interesting variations to the "trophy shot" that are worth pursuing. One of the photos I like is the "walking up" shot. Position the animal nicely but naturally, as if it had just fallen. Make sure the antlers or horns are plainly visible, and put the camera at a low angle. Get behind the animal as if you were following the trail and just discovered the fallen quarry, looking at the animal and not the camera. This can be a wonderful photograph.

Hunters almost always look at the camera when taking a trophy shot, but consider looking down to admire the animal or look away to admire the beautiful country it lived in. Sometimes these are the best photos. And if you have time, take some shots of packing, dragging or carrying the animal away from where you killed it. If you follow the advice I've laid out in this article--and take the time to practice good photography techniques every time you're in the field--you'll soon be taking some great pictures. Remember that no matter the size of the trophy, you will never again be in that place and time. Good photos will allow you to relive the experience forever.