Here's the secret behind those stunning National Geographic wildlife photographs

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The object vaguely resembled a chicken, with its rounded body but no head. However, the white paper-mache bird was actually supposed to be a greater-sage grouse – a bird that lives in the North American plains.

National Geographic photographer Charlie Hamilton James was on assignment in Wyoming in 2018 to capture images of male sage grouses doing their mating dance, in which they quickly pop their chests in and out. 

There was a major problem, though: the birds wouldn’t perform their intimate mating ritual if a human was present.

So James approached National Geographic photo engineer Tom O'Brien, one of the only people who could help him. O’Brien is the mastermind behind the bespoke innovations that help National Geographic photographers capture the up-close, stunning photography the publication is known for. 

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“You’re insane, dude,” O’Brien remembered telling James when asked for a “robot camera bird.” 

Yet it was completed in two and a half weeks. A strong yet tiny camera was placed inside the paper-mache bird, which could travel down a 100-foot-long railroad track made of quarter-inch PVC pipe. It could go left and right, up and down, and James could control all of it over a Wi-Fi mesh network. 

“It was one of the wildest things I’ve ever done,” O’Brien said. 

Placing the camera at bird-height was also a strategic move. “Now all of a sudden they look majestic as heck,” he said. “They look powerful and big.”

Dubbed “the funky bird train,” this project was just one of many MacGyver-like inventions O’Brien makes to let photographers get up close and personal to wildlife or deal with unpredictable and extreme natural conditions. 

His innovations have been everywhere, from the Arctic to Mount Everest and, soon, the Sonoran Desert. (“How are we going to keep these cameras not boiling hot in the Sonoran Desert?”)

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National Geographic’s 007

With a background in mechanical engineering, O’Brien also dabbled in photography as a hobby since his high school years. When applying for jobs in 2016, it was between this position at National Geographic and a firm that produced equipment for intelligence operators like the CIA. 

He took the National Geographic job and is now half of a two-person department. 

“People joke that I’m Nat Geo’s 007,” he said. “I love the freedom to create and innovate … It’s something I have that many engineers don’t have. We touch so many different types of engineering, from electric to mechanical to textiles.”

O’Brien’s team just recently acquired a sewing machine. 

Located just blocks from the White House, the underground photo engineering lab has everything a photographer could need – and things they may not know they could use. 

Upstairs is a shop with machines such as 3D printers and laser cutters. In the basement, old cabinets line the walls, filled with every type of brass fastener in the English imperial system as well as drills, bolts and screws in every size. “It allows us to quickly iterate and design, and grab and go,” he said. There are drill presses, milling machines and big butcher block tables. 

To put it simply: “If you told me the world is ending and you need to build me a car, I bet we could build you a car down there.”

Then there’s the camera gear, hundreds of lenses, batteries, cameras, lights, tripods, lighting stands, underwater housing and more “bits and bobs,” as O’Brien put it. 

Out in the wild

When photographers are heading out on assignment, they first stop at O’Brien’s desk for help. 

He made an elephant-resistant camera used in Gabon, which required meeting with the elephant curator at the Smithsonian’s National Zoo and watching how elephants play with enrichment toys. O’Brien built a lightweight pyrex housing that was strong enough to withhold elephant tusks. 

For an expedition up Mount Everest, the camera equipment had to be lightweight, and he had to ensure the batteries wouldn’t freeze. “With smaller batteries, the trick is you shove them inside your coat,” he said. That wasn’t possible with 10 pounds of drone batteries, so he painted lightweight aluminum black because “solar ovens work even better” at high altitudes. 

Photographer Jen Guyton was heading out to Kenya’s Masai Mara savannah to capture images of spotted hyenas. She dove into extensive research. “I tried to dig up every story that’s ever been done on spotted hyenas, what has already been done and what’s possible,” she said. 

“I try to prepare for everything and rely on nothing,” she said. Especially regarding wildlife and nature, anything can throw a wrench into plans. “You have to bend to an animal’s will.”

When she approached O’Brien, she had a “crazy idea.” She wanted to shoot the hyenas in the dark because that’s when the animals are most active. “All the photos we see of them are taken during the day.”

They decided to try out infrared – her first time shooting with the technology – and created a custom system built onto a Land Cruiser. Two infrared spotlights typically used for crime scene investigations were mounted on top of the car and two huge car batteries for the spotlights were placed on the back. Wires were everywhere. 

Guyton went out multiple nights – some nights, it poured rain, so she had to bring the lights in, and caught never-before-seen images of hyenas eating and cubs playing.

Guyton also used a remote-controlled robot to get close to the hyena den while she stayed about 50 yards away to give them space. “How do you get that low angle when you can’t be on the ground with them?” O’Brien said. The camera settings could be adjusted as the daylight changed. 

“The cool thing about it was hyenas are naturally curious,” she said. The hyenas approached the robot, and one cub even offered it a stick in what seemed like a gesture to play. The images showed a completely different side to hyenas, exactly what Guyton sought. 

“I like to think of photos as entire stories frozen in time,” she said. “They capture a moment that can never be repeated in exactly the same way ever again.” 

Kathleen Wong is a travel reporter for USA TODAY based in Hawaii. You can reach her at kwong@usatoday.com.