My response was that I was cautious about who I shared locations with, but I did provide a very vague description of the general area where I had found the snakes.  My description was no more specific than within ½ mile of a 5-10 mile stretch of river in a particular nearby county.

To my surprise, a day or two later I received a telephone call and an e-mail message from that state’s DNR.  The person I had provided the general information to had forwarded my message to the DNR.  The comments made by the DNR were that my giving out the locations of the snakes was placing the snakes at risk.  Remember, I hadn't even stated where to find them!  An interesting aspect of this situation is that the same DNR has timber rattlesnake location information (and a map) posted on the web!!

The outcome of this issue is yet to be resolved.  To begin with, I will no longer provide information to anyone – researchers, DNR, or anyone else, unless I know that they can be trusted.  They must have my wildlife ethics and be honest and straightforward with me.

For the “wildlife officials,” at least some of them, they will never again learn of uncommon or unusual wildlife sitings.  Those findings will be kept secret or shared only with close friends.  Of course, those that I know I can trust will continue to receive information.  New staff will have to earn my trust.

For one certain "researcher," he has lost my respect and I can only hope he never makes contact with me again.  He has caused immeasurable and undeserved turmoil.  Obviously his standards are not adequate for me or many of my nature photographer associates.  I would rather not work with people of his type.

For those of you who also share an interest in wildlife, be very careful who you provide wildlife information to.  They may not be who you think they are.  Worse yet, their intentions may be to cause you unnecessary grief.

Who would have thought that rattlesnake images could cause so much trouble? 

Loosen Your Tripod Head for Slight Adjustments
Some of my favorite wildlife images to create are of birds.  Whether I am working with backyard birds or flying birds, I still find that the creatures easily capture my full attention. 

As you may have noticed, most birds are nearly constantly in motion.  They are either flying quickly to a feeder, flitting around on the ground or near their nest, or winging their way across the sky.  Perhaps the biggest challenge of photographing birds is the task of maintaining a properly composed image of a moving subject. 

A technique I frequently use is to slightly loosen my pan screw on my tripod head.  Then, as the bird moves horizontally in the viewfinder, I can simply and smoothly adjust my lens position without drawing attention to me and my camera equipment.  This trick works particularly well when photographing birds at close range, such as from a blind.  It is important that you are aware of the full range of your background if you will be panning your camera and lens. 

Catchlight in Wildlife Eyes
Study any award winning wildlife images and you will quickly notice one detail – the eyes of the creatures appear to be alive.  The trick to bringing life to your wildlife photography is to assure that a reflection of the sun, a burst from your flash, or any other bright light source appears in the eye of your subject.  Of course, you must be sure you have the lens focused sharply on the eye too.

Often the easiest method of adding catch light is to position yourself properly so only a slight movement from the bird or animal causes their eye to reflect the sun.  Some subjects will require a small flash, but be careful where you position the flash head.  If you are too close, your equipment may be clearly visible in the animal’s eye.  Watch too for over-powering flash exposures.

Look through your collection of wildlife images.  Do your animals have dark, lifeless eyes?  Or, does each creature seem alive and alert to your presence?  You now know how to add life to your images. . . now it’s time to give it a try!

Recognizing Wildlife Rhythms
During the past few weeks I have spent many hours in my backyard bird blind.  At times the shooting was non-stop, other times I waited and waited and waited.  Then I realized something . . . the birds were visiting my feeder with a somewhat recognizable pattern of regularity.

After observing the bird behavior, I noticed that usually the chickadees and juncos were the first birds to return.  Then, as if they were an avian indication of confidence, the other birds would appear.  Soon I had cardinals, blue jays, and nuthatches stopping by for a morsel of food.

The pattern became so predictable that I was able to get a little reading done in-between the visits from the birds.  However, as soon as I heard their call from neighboring trees, I realized my shooting was about to begin again. 

An Interesting Method of Storing Lenses
Over the years I have purchased an assortment of lenses.  Since I have yet to convert to autofocus technology, all of my lenses are still of the manual focus variety.  On two different lenses I developed a problem of the lens failing to stop down to F11, 16, or F22.  Upon inspection, I noticed that I could free the lens blades by exercising the mechanical lever on the rear of the lens.  I suspect my lenses were developing a fungus or gumming up for some reason.

After discovering the "fix" for my lens stopping down problem, I realized that if I always stored my lens with the aperture ring set at the smallest aperture, I did not have any problems.  Now when I put my gear away, either on the camera body or off, I rotate the aperture ring to its smallest setting.  I haven't had a problem since I began this routine.

Note:  I don't know if this problem affects autofocus lenses or not.  If anyone can provide input, I will add it to this page.

Buying into the Latest and Greatest Gear
Wow!  I just finished reading an article in a popular national outdoor photography magazine where the writer described how well the new Canon D30 worked for him.  Being curious, I leafed through the pages of ads in the back of the magazine looking for a price on the D30.  Only one advertisement included the D30 and no price was provided.  What does this mean to me, a less than wealthy photographer?

Well, I can mortgage my house, truck, and life to buy into the latest gear.  Or, I can keep things in perspective.  I realize that it is not the gear that makes great images.  Great images are a product of our minds. 

Instead of risking every dollar I earn on gear, I prefer to use my existing equipment and hold on to my cash as long as possible.  In time, when more cash is available and prices have come down, I may invest in a D30, but maybe I won't.  I may spend those bucks for film or travel and I'll use my current gear for my photography pursuits.

Remember, it is not the gear that creates the images . . . you do!

Avoid Tunnel Vision
If you spend much time pursuing nature or outdoor photography, you might possibly find yourself suffering from self-induced tunnel vision.  Tunnel vision can easily become a self-defeating affliction that must be avoided.

For me, tunnel vision occurs when I am so determined to shoot wildlife photos that I miss countless scenic, macro, landscape, or other types of images.  Often, I find at the end my wildlife photo treks that I created no wildlife photos while passing up many other types of images.

Recognition of such a dilemma as tunnel vision is the first step in correcting or avoiding this problem.  Only you know what your photo goals and ambitions may be.  You must respond accordingly.

The next time you are out working on animal images, break from your routine and look around.  There may be a great landscape, scenic, or macro image nearby.  Change your routine and you may create some of your best work. 

Luxurious Winter Wildlife Photography
Winter in the Upper Midwest challenges even the most prepared wildlife photographer.  Frigid temperatures, biting wind, snow, sleet, and ice pummel our bodies and our equipment.  It's no wonder so many wildlife photographers store their camera gear during winter months.

One technique I use during winter, while photographing wildlife, is to enjoy wild things from the comfort of my heated backyard blind.

To make my blind, I converted a handmade ice hut (by cutting a lens window) into a semi permanent photography blind.  The blind is set in place (with regards to bird feeders and backgrounds) before the first snowflake falls.  I have equipped the blind with a portable electric heater and comfortable chair.

When I'm actually working in the blind, I have my camera, lens, cable release, notepad, tripod, and even the cordless phone with me.

From the comfort of my blind I can create photos of backyard birds all day long, even on the worst winter day! 

Boosting Film Speed
If you watch the sun closely beginning around late October and continuing through mid-May, you will notice that its brilliance pales compared to a sunny summer day.  The angle of the earth and its rotation are the reason for this interesting occurrence.  How or why does this matter to an outdoor photographer?  Because each winter day you are out working your subjects, you must factor lower light levels into your exposure formula.

I routinely adapt to this situation by pushing my slide film one stop.  Instead of setting my film speed dial for the rated film setting (typically ISO 100), I set the film speed at ISO 200.  My camera's electronics are fooled into thinking a faster film is loaded and all settings are adjusted accordingly.  Instead of shooting at 1/60 of a second, I gain a stop of speed and can shoot at 1/125 -- quite an advantage when photographing birds at my feeders!

When the final frame of the film has been exposed, I mail the film to my processing lab with an extra dollar bill and a note explaining how I pushed the film one stop.  The processors adjust their procedures to account for my +1 push and the film is returned with very acceptable images.

This procedure is different than adding +1 on the exposure compensation dial.  By pushing a roll of film, all images are exposed at a faster speed and the film must be specially processed.  The +1 exposure compensation adjustment affects only the individual frames of film and requires no special processing.

After the sun begins to reach higher in the summer sky, I revert to shooting film at its rated ISO and I save a buck with each roll.

Note:  I use the +1 push technique when I am backpacking too.  Even though it is usually summer when I enjoy my hikes, I push the film to gain a hand-holding advantage.  Since I am often huffing and puffing from carrying my pack up and down the trails, I can seldom hold steady enough to shoot without blurring the image.  The extra stop of speed usually makes the difference between a mediocre shot and a great image. 

You Help Me, I'll Help You
When winter winds dump mounds of snow across the landscape, our favorite wildlife photo subjects are forced to search for every morsel of food.  Birds seem to easily demonstrate this scenario.  I have worked out an unspoken deal with the feathered visitors to my backyard.  If they will pause for a photo near my photo blind, I will provide them with plenty of food and water.

To enhance my photos, I use natural feeders instead of typical store-bought versions.  Weathered old logs, especially those with holes and hollow cavities work great for my bird feeding agreement.  I place the logs at close range in front of an appropriate background, fill them with black oil sunflower seeds, and wait for the birds.  If my desired species are woodpeckers, I hide morsels of beef fat behind the tree bark where it can't be seen in my photos.  When the birds pause to find the bite of food, I quickly focus and open my shutter. 

Obviously, creating pleasing images of moving wildlife at close range takes practice.  Expect to have more duds than successes.  Over time you will learn the characteristics of your backyard birds and your rate of success will improve dramatically. 

Wildlife Photography
Winter conditions can be extremely harsh and devastating for wildlife.  Not only do cold temperatures require abundant caloric intake, but deep snow often buries common food sources.  Add to these conditions the ease of visibility to predators that snow creates and you wonder how anything survives winter. 

I encourage nature photographers to take an extra minute or two to consider their wildlife photo subjects during the winter months.  Will your photo pursuits cause the animal unnecessary stress?  Will the creature feel forced to fly or run away (burning precious fat stores)?  Maybe the image isn't worth jeopardizing the well-being of the wild subject.

When and what to shoot are a decision each photographer must make.  Be sure you can justify the means for the end result.  Out of respect for our wild neighbors, remember that no image is worth risking the life of your photo subject.  Sometimes the better photographer knows when not to shoot. 

Stuck in a Rut
Chances are, at some time in your photography career (or hobby), you will struggle to find images that capture your attention. Don't worry, we all experience this odd affliction from time to time. 
Instead of becoming discouraged, use your creative rut to improve your photographic skills. 

When I realize I am suffering a lapse in creativity, I challenge myself to acquire new skills or techniques.  I may load a roll of black and white film instead of slide film.  Perhaps I will force myself to use only a little-used lens to create as many images as possible.  I may even expand my horizons by pursuing new subjects or locales.

Whatever your rut may be, don't give up on your photo skills.  Your best image is certainly yet to come! 

Carrying Gear in Canoes and Kayaks
Nature/Outdoor Photographers routinely challenge their gear by exposing it to anything Mother Nature offers.  Wind, rain, dust, snow, etc…. all present very real threats to delicate electronic and optical gear.

Paddlesports - canoeing and kayaking - threaten photography gear with immersion, water spray, damp conditions, and countless drops of water.  But paddlesports also offer endless eye-catching photo opportunities.  Gear protection is crucial to gear survival.

When I create photographs while paddling my canoes or kayaks, I follow a set procedure to protect my equipment.
 

I carry only the gear I will likely use in the canoe, kayak, or boat. Anything not likely to be used remains on solid ground.

Except for my SLR/lens, any gear carried is stowed in a Sea-Line dry bag.  The waterproof bag is easily accessed while providing vital gear protection.

My SLR/lens is carried on a cushioning pad on the floor of the canoe or kayak. The pad elevates the gear from any water that may be on the floor and protects the gear from exposure to most moisture. 

Assuring Film is Properly Loaded
I hear a tragic photo-related story several times a year.  A photographer is thrilled to have captured a “once-in-a-lifetime” image.  In fact, they may have even been able to create in-camera dupes of the great image, all on one roll of film.  Amazingly, the one roll of film seemed to go on and on and on.

You may already know the end of the tale.  Their film was not properly loaded and instead of creating many special images, the photographer never exposed a single frame of film.

A simple technique I routinely use to assure proper film loading is to watch my rewind lever as I advance my film.  When I see my film rewind lever spin as I advance the film, I know I have properly loaded the film into the camera. 

Step-up Rings
Browse through any photography catalog and you will see an amazing assortment of filters available to enhance our imaging efforts.  There seems to be a filter designed for any visual effect.  Which filters you purchase and use depends on your artistic intentions.

A filter's design is important, as is the filter's size.  Under ideal conditions, all the lenses you carry will have the same size objective lens.  Unfortunately, reality seldom presents such a perfect situation.  Instead, we have lenses with many different objective lens sizes.  What is a photographer to do?  Should we buy separate filters for each lens we carry?  Of course not . . . use step-up rings!

Step-up rings are an inexpensive adaptor rings with threads sized to match your objective lens on one end and larger threads on the opposite end.  Typical step-up rings are manufactured very thin to reduce the possibility of vignetting and are available in many sizes.

If you are unable to locate a step-up ring with enough range for your lens application, you can stack several rings together.  For example:  To go from 49mm to 67mm, I use a 49mm –58mm ring threaded to a 58mm- 67mm step-up ring.

After using step-up rings to adapt all of your lenses to match your largest lens, you will only need to purchase filters in the size of your largest lens.  Step-up rings will then allow the filters to also work on the other lenses in your photo kit. 

To simplify lens protection, I keep the step-up rings on my lenses at all times and purchased lens caps to match the step-up rings.

No Cable Release?  Use Your Self-Timer!
Regardless of what photography book, magazine, web site, or instructor you question, all will extol the value of using a tripod.  Tripods reduce blur, force composition considerations, and generally improve most photos.  However, the benefits of tripod use can easily be compromised if you don’t also utilize a cable release.

A cable release serves as an isolator from human shake.  As important as the tripod/cable release combination may be, there are times when a cable release is not available.  Don’t despair; you still have another acceptable option.

Compose your image, determine the proper exposure settings, and mount your camera on the tripod.  After all parameters have been accounted for, activate your self-timer.  The self-timer will open the camera shutter while eliminating human contact.

The only drawback to utilizing the self-timer is the time delay of the timer feature.  Instead of nearly instantaneous shutter action, you may be waiting as long as 10-15 seconds before exposing the frame of film and creating your image. 

Converting a Tripod to a Monopod
There are times when using a tripod becomes difficult, if not impossible.  One instance in particular is while photographing birds in flight.  The processing of composing a moving image while adjusting a tripod and maintaining focus are often impractical. 

Adapt to such a situation by converting your tripod to a monopod.  Simply extend only one leg to the proper length for the shooting situation.  Strap the other two legs (shortened to minimum length) to the tripod so they won't move and hamper smooth motion.  Attach your camera and lens to the tripod head in the usual manner.  When birds fly past your location, track their flight by rotating on the one leg of the tripod.

When the photo opportunity has passed, unstrap the two legs to revert back to a standard tripod. 

Bean Bags
Looking for an occasionally suitable alternative to a tripod . . . something inexpensive that even the least handy person can make?   Consider a bean bag, and don't buy one; make it!  Take a short length of pant leg (I used camo and made two, one from each pant leg) cut to whatever size you desire.  Sew one end of the tube shut.  Fill the tube with either small beans or rice.  (I used rice, with the rice left in the bag.)  After you've filled the tube, sew the other end shut.

You now have a quick, stable platform for those times when you can't get to a tripod.  Carry your bean bag in your car or truck for those times when you are shooting out of the window.  Or, use your bean bag for stability when composing ground level shots. 

Carrying Your Camera Equipment
Before you know it, you will have accumulated a considerable collection of photographic gear.  Although you will seldom need each piece of equipment, you will probably want to carry most of it with you on your outings in the field.  What is the best method of carrying photo gear?  Following are several options commonly used by outdoor and nature photographers.
 

Gadget Bags - Most people begin their outdoor photography with a modest assortment of gear; often just enough to fill an ordinary gadget bag.  Yes, a gadget bag will carry gear.  However, most of the time the bag is sliding off your shoulder or inflicting great pain.  If you haven't already purchased a gadget bag, don't bother.  They are simply too inconvenient and too small to be practical.

Fanny Packs - A well designed fanny pack works great for hauling a modest amount of gear.  Fanny packs allow easy movement when hiking, cycling, and during many other outdoor activities.  Fanny packs also offer the option of wearing them in the front if you are carrying a  "real" backpack.  Fanny packs do have one drawback.  Most of them are not big enough to carry a long length lens.

Photo Backpack - Similar in style to "hiking backpacks," photo backpacks offer tremendous carrying capacity with plenty of protection.  Often the pack is designed with spacious pockets where even more necessary gear can be stored.  The primary drawback of photo backpacks is their size and capacity can easily limit active movement.

Photographer's Vests - Resembling the "Journalist's Vest," the photo vest is really nothing more than a pocket-covered vest.  In my early days of shooting, I converted a fishing vest into a photo vest.  The advantages of such a vest was the easy access to gear.  That easy access came with a price tag -- my gear enjoyed only a limited amount of protection.  Photo vests lack the padding of a backpack and some pockets do not hold their contents securely.

From our field experience, the fanny pack and photo backpack provide the best protection and most convenient method of carrying photo equipment. 

Film and Cold Temperatures
Just as cold weather affects cameras and the people using them, cold weather also presents unique concerns for film. 
 

• Cold weather quickly transforms a rather pliable medium into a brittle celluloid.  If you are the unfortunate recipient of brittle film, you may quickly notice that your film sprockets have torn, making advancing or rewinding of film difficult, if not impossible.

• Cold weather, and the dry air that accompanies it, are also responsible for static streaks on film.  Obviously, you won't realize your film has seen the tiny discharges until your processed film returns from the lab.

In both cases, the best precaution you can use is to treat the film very gently.  When loading or rewinding film, do so only at a slow speed and your brittle film problems will be minimal. 

Cold Temperatures and Cameras
Cold temperatures present interesting challenges to photo equipment.  Batteries are usually the first to be affected.  If you carry your camera under your parka, the "warmth" provided by body heat will help the batteries hold a charge.  Of course, you should also carry a spare set of batteries if you will be shooting in cold weather for an extended length of time.

Note: Don't be in a hurry to dispose of batteries that fail in extremely cold weather.  After the batteries have warmed to "normal" temperatures, they will likely have a full charge again.

Perhaps even more important is the effect cold temperatures have on camera equipment and the resulting condensation that forms when the gear is moved into a warm environment after being exposed to cold conditions. 

Just as a cold drink develops condensation on a glass, your photo gear will also develop moisture on its surfaces.  Since most cameras rely heavily on electronic circuitry, any exposure to moisture may have catastrophic results.

A simple remedy is to wrap the gear before going into a warm building from the cold outdoors.  Keep the gear wrapped until it has slowly warmed to room temperatures.  (I place my gear in my Lowe-Pro photo backpack and zip it shut.  The pack will not be opened again until enough time has lapsed to allow the equipment inside the pack to acclimate to the warmer temperatures.

Similar condensation troubles are also common when taking photo equipment out of an air-conditioned atmosphere and into hot and humid outdoor temperatures.  Again, wrap your gear and allow it to adapt to the warmer temperatures before subjecting it to challenging outdoor conditions. 

Comforting that Tripod
There is no doubt that the use of a tripod will improve your nature and wildlife images.  Whether you love them or hate them, tripods are a tool of the trade carried in the field by serious photographers.  In fact, devoted outdoor photographers carry tripods while backpacking, hiking, fishing -- wherever their pursuits take them.

Fortunately, there are a couple of simple and inexpensive modifications nearly anyone can make to noticeably ease the burden of hauling a tripod to and from photo adventures.
 

Leg Pads
Stop by any hardware store and purchase a length or two of foam pipe insulation.  Select a size with a center opening measuring nearly the same size as the main sections of your tripod legs.
Measure only the length of the main leg sections of your tripod.
Cut the insulation to fit the leg sections just measured.
Snap the insulation over the tripod legs and you now have leg insulators for cold-weather shoots and padding for those times when you rest the tripod over your shoulder while hiking.

Weight Reducing Shoulder Straps
If you don't already have a neoprene strap on your camera, now is the time to get one.  (Op-tech makes great straps that hold up under most extreme conditions.)  Use the same type of strap on your tripod to dramatically reduce the perceived weight of the tripod as it is carried over your shoulder.

Attach one end of the strap around the tripod head and the other end around a leg.  Tie the legs together with a strong rubber band or durable Velcro strap. 

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Tripods - They aren't just for professionals!
Tripods certainly aren't for professional use only.  In fact, most photographers, serious or casual, can improve their images when a tripod becomes a regularly used tool of their trade.

Tripods improve images for the following reasons:

Cameras mounted on a solid tripod seldom record motion created by camera movement.

Tripod use forces a photographer to slow down, which often leads to multiple compositions being created of a subject, instead of a single "snapshot" image.

Focus ability becomes more acute when the camera is mounted to solid tripod instead of being handheld.  This benefit is especially appreciated when creating macro images.

When Should I Use A Polarizing Filter?
Polarizing filters are one of the few filters every nature photographer should always carry and frequently use.  Polarizing filters are useful for several reasons.

Use a polarizing filter to reduce glare and reflections in images.  Glare is a result of light reflecting off most surfaces, including surfaces found in nature: leaves, water, and most foliage.  A properly adjusted polarizing filter will block specific light rays and pass desired light.  As undesirable light rays are blocked, the full color of vegetation or the beauty of a blue sky filled with cumulus clouds is enjoyed. 

Polarizing filters can also be used as a neutral density filter.  There are times when a long exposure is desired, but ambient light levels present too much light.  No problem . . .  attach a polarizing filter and you will reduce the incoming light levels by approximately 2 stops.

Always use discretion when composing an image with a polarizing filter.  With today's super color-enhanced films, it is very easy to adjust too much polarization into an image.  Wide angle lenses are much more prone to this problem.

Note - Many auto-focus camera systems require a certain type of polarizing filter.  Be sure to use only the type of polarizing filters specified in your owner's manual. 

When should I use a lens hood?
Very few situations exist when a lens hood should not be used.  The primary function of a lens hood is to block direct, bright light from entering the front element of your lens.  When direct, bright light enters your lens, the light tends to reflect off the many glass elements of the lens and is recorded on your film, often in the shape of your lens blade opening.

Lens hoods also reduce the chances of lens flare occurring.  Lens flare is a foggy appearance on your final images.

Lens flare and internal reflections are both visible in your viewfinder, although they are often difficult to detect.  It may be necessary to use your depth-of-field preview button to see the objectionable flare or reflections.

An additional benefit of a lens hood is that lens hoods are a great form of protection for the objective end of your lenses.  If you should drop your camera, the lens hood will often absorb the impact of the fall instead of your lens.   Click here to view examples of lens flare and lens reflections. 

Choosing the Proper Medium - Prints, Slides, or Digital
Before creating your first image, you must decide which medium you will use to record your creations.  Choices used to be limited to prints or slides.  Now photographers have a third option -- digital.  Each medium has distinct advantages and disadvantages.  The intended end use of your images usually dictates which medium will work best in each situation.

Print Advantages -
Wide exposure latitude, ease of viewing, processing readily available, and a negative exists for reprints if the print is damaged.
Print Disadvantages -
Most publications will not accept negatives or prints and final images are dependent on the quality of the print processor.

Transparency Advantages -
Extremely fine grain, images are projectable for group viewing, accepted by most publications, and what you see in the viewfinder is what you get from the lab (no printer-related problems)
Transparency Disadvantages -
Narrow exposure latitude, processing more limited than print film, no prints available for easy viewing.

Digital Advantages -
No film to purchase or process (images are recorded digitally), in-camera editing allows instant deletion of unwanted images
Digital Disadvantages -
High quality systems are very expensive, long lasting prints require a high quality printer, inks, and paper. 

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Beware of Deet's effect on Camera Equipment!
We do most of our photography in the Upper Midwest where there are two seasons: seasons with bugs and seasons without bugs.  Biting insects are a fact of life and we have to learn to cope with them.  If the weather isn't too warm, I  wear long-sleeved clothing and a hat.  However, most of the summer is hot and humid; minimal clothing is a must.  To combat biting insects, I resort to using either spray or lotion containing DEET.

We've all heard the warnings about DEET and its ability to be absorbed in the skin.  For that reason, I use repellent with low DEET concentrations.  Weaker mixes still seem to keep the bugs at bay while allowing me to continue field work.

Unfortunately, DEET presents a problem around camera gear.  The chemicals in DEET quickly break down most plastics they contact, such as cameras, lenses, and tripods.  Even if you do not spray insect repellent containing DEET directly on your gear, you will inadvertently expose your equipment to its ill-effects when you hold your camera to your face, brush your tripod with your DEET covered arm, or handle a lens after rubbing DEET filled lotion on your neck.

So, what's my trick?  First, I use as little DEET filled repellent as necessary.  When I do have to use bug dope, I squirt or spray a small dab in my hand and rub it on those areas not protected by clothing, avoiding any part of my face that will make contact with my plastic SLR.  Then, before I handle any gear, I wash my hands with water I carry in my truck, or I rub them on dew-covered grass.

If I start to feel that tell-tale stickiness indicating my plastic is breaking down, I do the same thing.  I quickly wipe the exposed plastic with a damp cloth using water or dew.   As much as I hate to use DEET, I have had minimal damage to equipment while I spend more time than ever in the habitat of blood-thirsty insects.