I believe that many folks think that when there’s a reflection of a photo subject on the surface of water that reflection is an exact upside-down version of the subject itself (unless the reflection is disturbed by irregularities on the water surface). That’s really not the case.
Bird photographers like to know why certain elements of their images are soft (blurry) when others are not because it helps them to evaluate their settings and technique.
I sure do miss this woodpecker and its mate. I photographed them for parts of two breeding seasons in Clark County, Idaho but about a month ago some idiot chopped down their nest tree (the one in these images) and I haven’t seen the birds since.
Two events yesterday morning made yet another threat of barbed wire for wildlife painfully clear.
I don’t often keep an image where the wings of a songbird in flight are in a horizontal position.
I don’t believe that I photograph any species more pugnacious than the Cliff Swallow. Their combative nature can lead to some interesting photo opportunities but they’re so darned quick that doing it well is very difficult.
You have to get lucky to get good light on a raptor in flight when the sun’s high in the sky.
It’s surprisingly difficult to anticipate direction of take-off, even as birds leave the entrance to a nest cavity in a tree.
Many things can go wrong when photographing birds at take-off and clipping wings is at or near the top of the list. The amount of room the photographer needs to allow for raised (or lowered) wings is hugely deceiving. Sure, you may catch the wings in a horizontal position without clipping them but that position is generally much less desirable.
The background bokeh of an image can have a huge impact on the overall aesthetic quality of an image.
It seems that one species or another usually predominates on my trips to Antelope Island. Four days ago it was Sage Thrashers demonstrating springtime behaviors.
