Mia and I often joke with each other that we’d make terrible landscape photographers because we’d be bored by all the waiting around for ideal conditions such as dramatic clouds and perfect light. We much prefer the excitement, unpredictability and the occasional and unexpected delights of bird photography. This Swainson’s Hawk was one of those nice surprises.
This is one of the oldest bird images in my files, taken on 6/17/07 and very soon after I became serious about bird photography. At the time I was still shooting JPEGs (rather than RAW). In my ignorance, making the decision to start shooting RAW was stressful for me. I was already overwhelmed by everything I had yet to master, from camera and lens operation to computer and processing skills and I was reluctant to add yet another layer to the mountain of “stuff” I had to learn. After about 6 months I finally took the plunge and changed the setting on my old Canon XTi from JPEG to RAW and I’ve never looked back. The only thing I’ve ever regretted was taking so long to make the change. To this day I dread having to process one of those older images that was taken as a JPEG (like the photo below). The JPEG vs RAW debate has been around for a while and I don’t mean to settle it here. All I know is that I much prefer processing RAW files for a variety of reasons. 1/1600, f/8, ISO 400, 500 f/4, 1.4 tc, natural light I always get a kick out of seeing birds in spread-eagled poses like this Yellow-headed Blackbird is demonstrating – it makes me think that if they don’t let go they’re going to split down the middle clear to the wishbone (furcula). Usually when I see this pose the two “perches” the bird is grasping are green reeds with many other reeds of similar colors nearby in the frame. But…
On this morning as I was leaving Antelope Island after a morning of shooting I was, as always, watching for a Prairie Falcon along the causeway. Occasionally I’ve been lucky with that strategy but it doesn’t happen very often. One advantage I had is the fact that if there was one there it would likely be perched on the rocks next to the Great Salt Lake. With that dark blue background, the bright whites on the breast of the falcon are often easy to spot. And that’s exactly what happened.
Baiting birds into close proximity for photographic purposes is a highly controversial subject, especially when it’s done to raptors. Often live bait such as store-bought mice are thrown in front of the photographer so that photos can be obtained of the bird in flight as it swoops down for the rodent.
Sometimes bird photographers have to be a little crafty to get the shot.
Anticipating behaviors is often crucial for nature photographers and that’s particularly true when your subject is a lightning-fast bird. Most of us don’t need any more images where the wings have been cut off in the frame or the bird is soft due to lack of shutter speed or poor focus tracking of the bird at take-off. The American Avocet in breeding plumage is an especially lovely subject with its long recurved bill, bluish legs, cinnamon head and neck and the black and white chevron pattern on its back. But you don’t see many quality flight or take-off images of the species, partially because their flight tendencies are fast and erratic. Like many birds, avocets routinely perform single wing and leg stretches. These stretches occur when the bird is at rest and at ease. They stretch like this in the water… and on land. But this single-wing/leg stretch is not an indicator of nervousness or a precursor of take-off. Neither of the birds in these two images did so immediately after the stretch. 1/1000, f/8, ISO 500, 500 f/4, 1.4 tc, natural light, a sliver of canvas added for composition But when you see this two-winged wing stretch, expect imminent take-off. A few seconds later this bird did just that but it took off away from me and I deleted the images. Another two-wing stretch. And almost immediately after the wings came down… the bird took off. It’s not a good shot because of the angle of take-off but it illustrates my point. Here’s what Birds…
Cliff Swallows are one of North America’s most social land birds. Their nesting colonies sometimes consist of up to 7,000 individuals. Originally they were birds of the western mountains where they nested under horizontal rock ledges in canyons and foothills but in the last 150 years their range has expanded to include most of the continent due to the construction of buildings, bridges and highway culverts that provide alternative nesting sites. But holy moly, are they ever difficult to photograph in flight! I suspect that most serious bird photographers have attempted swallow (any species) flight shots and I’m no exception. But their small size combined with their swift, erratic flight has always stymied me. Until last May I didn’t have a single legitimate “keeper” of any swallow species in flight but that spring I was finally able to get some shots I like but it took some significant alteration of my past strategies. 1/3200, f/7.1, ISO 800, 500 f/4, natural light One of my problems in the past was that the bird was nearly always shaded underneath. So finally it struck me (duh!) that I needed to be shooting them when the sun was very low – for me that meant early in the morning. 1/2500, f/6.3, ISO 800, 500 f/4, natural light But shooting flight shots just as the sun comes up provides another problem – sufficient shutter speed. At that time of day the light intensity is relatively low so I needed to be shooting at the effective noise limit of my Canon 7D – ISO 800….
Black-billed Magpies are loud, flashy and conspicuous black and white birds. And they’re a challenge to photograph well because of the exposure difficulty – getting detail in the blacks without “blowing out” the whites. I probably discard a higher proportion of shots of this species than I do any other. But if you work hard at it (with a little luck thrown into the mix) you can get some pretty spectacular shots that have detail in the blacks and whites and their showy iridescence. The actual plumage of these birds is truly black and white, with no other colors. But in the right light the feather structure (and other factors) on the tail and wings of these birds bends the light much like a prism and produces a variety of colors, predominantly blues and greens. When I’m photographing magpies, one of my goals is usually to capture some of that iridescence. 1/4000, f/6.3, ISO 500, 100-400 @ 400mm, natural light Three days ago I found this magpie perched on a snow-covered boulder on Antelope Island. As you can see the whites are well-exposed but there’s not a lot of detail in the blacks. This is the type of magpie image that I normally wouldn’t do much with except for purposes such as this post (my high shutter speeds were due to the snow and the fact that I was attempting take-off shots). 1/4000, f/6.3, ISO 500, 100-400 @ 400mm, natural light This is the same bird on the same perch but the image was taken…
I intended this post to be a single image for my “Just A Shot That I Like” feature. It didn’t turn out that way. Six days ago I found this Great Blue Heron on the edge of a small, partially frozen creek with an almost vertical snow bank directly behind and very close to the bird. The heron was patient with me and I was close so I tried a variety of compositions using my 500 mm and 100-400 mm lenses. The incredibly fast shutter speeds were because of the bright snow and my forgetfulness in adjusting settings as I was juggling two cameras and lenses. In the end I couldn’t decide which composition I preferred so I’m presenting three of them here. 1/5000, f/6.3, ISO 500, 500 f/4, natural light This relatively tight vertical shows good detail on the bird and I like the close view of the swirly marks on the snow behind the heron made by a wing as it landed. 1/3200, f/7.1, ISO 500, 100 – 400 @ 400mm, natural light Some folks gravitate toward whole-bird reflections so I’m also including this composition. Ideally I’d prefer the bird to be slightly further left in the frame but cropping off the left makes the image too narrow vertically for my tastes and I have no more room on the right (image was taken vertically and is close to full frame). 1/6400, f/5.6, ISO 640, 100 – 400 @ 400mm, natural light A horizontal composition with the heron slightly smaller in the frame shows more of the…
Typical winters are hard on birds in northern Utah (and elsewhere). But when the season is unusually frigid with lots of snow as we’re having this year they struggle even more to survive. All of these images have been taken since January 2 of this year. Upland game birds like this Chukar seem to have adapted to extreme conditions fairly well. This bird was all puffed up and sitting high on a rock to catch the earliest warming rays of the sun as it rose over the nearby Wasatch Mountains. Another upland game species that can apparently take harsh conditions quite well is the Ring-necked Pheasant (this is a female). They seem to forage for seeds at the base of plants where the snow isn’t as thick and their food is more readily available. But many other species have a difficult time and quite a few birds don’t survive until spring. The waterfowl that winter over here congregate in the few areas of open water where the flowing water is the last to freeze over. But when it gets very cold, even those small bits of open water freeze. I’ve seen ducks and coots frozen into the ice, some of them still alive. This female Green-winged Teal has just left one of the last unfrozen patches of water and is approaching an area of frost flowers. This Northern Flicker is using the protection of the underside of the eaves of a building on Antelope Island State Park. I thought the angled…
New Year’s morning on Antelope Island was a cloudy, low-light affair. It turned mostly sunny as we left for home in late morning and on the causeway we passed flocks of birders on their way to the island for their first day of birding in the New Year. I couldn’t help but notice the irony – us photographers who needed good light didn’t get any and the birders who don’t, did… But despite the low light I was able to photograph two coyote hunting techniques that I thought were interesting. 1/800, f/8, ISO 500, 100-400 @ 150 mm, natural light This coyote was on the edge of a large hill overlooking the frozen shoreline of the Great Salt Lake far below. I was very close to the animal but it was so intent on scanning the marshy area below for prey that it simply ignored me. At one point it stood on its hind legs with its front legs on a large, snow-covered boulder to give it an even more elevated view of the hunting grounds down below. I hoped that it would look back at me but it never did, though I think this pose, with just enough of the muzzle in view to show the direction the coyote was looking, well illustrates the hunting behavior. I was pleasantly surprised with one element of this photo. I was much too close to this coyote to use my 500mm lens so I had grabbed my other 7D with the 100-400 attached and backed the zoom down to 150mm. …
Many raptors are “sit and wait” hunters, which means they often hunt from an elevated perch instead of “on the wing” and Red-tailed Hawks are well-known for this practice. An elevated perch provides good views over a large area and no extra energy need be expended in flight while looking for food. Typically these birds will use the same productive perch repeatedly over long periods of time, which presents a challenge to the photographer – poop (hereafter referred to as “whitewash”). Whitewash consists largely of crystalline uric acid (it’s more complicated than that but I’ll try not to stray into a discussion of the functions of the cloaca), which tends to be bright white. That whitewash can create some aesthetic and ethical conflicts between a “natural shot” and an image that has been “Photoshopped” to death, primarily by use of the clone tool. Many photographers routinely clone out whitewash and/or droppings and I’ll admit that I’ve done it before, but for me it’s an ethical dilemma because I much prefer to leave my images as natural as possible since I consider myself to be a “nature photographer”. In fact, right now I’m struggling with a series of Horned Lark images that I really like, but there’s a large, fresh and very conspicuous dropping right in front of the birds foot that most would find distracting. I could clone it out but every time I looked at that image I would know what I’d done. Canon 7D, 1/4000, f/5.6, ISO 640, 500 f/4, natural light, not baited, set up or called in A couple of days…
Obtaining proper exposure on certain birds with high contrast colors has always been a big problem for bird photographers. When your subject has both very light and very dark colors it becomes problematic to get good detail in the darks without “blowing out” the whites, especially if the whites are very bright white. A partial list of bird species that are notoriously difficult to expose properly would include the Black Billed Magpie, male Wood Duck, adult Bald Eagle and many species of Terns. And because of the bright white rump patch found on all ages and both sexes of Northern Harriers, that species would also be on the list. One of the partial solutions to this problem is to photograph while the sun is low during either early morning or late afternoon because the light is much less “harsh” then and also because it has a better chance of striking the bird obliquely rather than at right angles (light at an angle tends to produce tiny texture shadows – “detail”). 1/2000, f/6.3, ISO 500, 500 f/4, 1.4 tc, natural light, not baited, set up or called in I like this image for a variety of reasons: the well-lit and detailed view of the topside of a harrier in flight, provided by the banking flight posture of the bird getting good eye contact with this flight posture isn’t easy, but this shot has it the background has some color texture – instead of solid blue sky or white clouds it’s a subtle mixture of both the harrier is sharp –…
Birds on Antelope Island have been few and far between lately and yesterday was no exception. But a couple of Loggerhead Shrikes saved my morning and taught me yet another lesson in light. 1/1000, f/7.1, ISO 640, 500 f/4, 1.4 tc, natural light, not baited, set up or called in It was mostly cloudy on the island when we got there just as the sun was coming up over the mountains but there was a crack in those clouds that provided some very warm light for a few minutes just as we found this cooperative shrike. The golden light provides colors to the bird and perch – an effect that I like, especially with the dark storm clouds in the background. 1/500, f/7.1, ISO 640, 500 f/4, 1.4 tc, natural light, not baited, set up or called in I was only able to get off a few shots before the shrike flew to another perch, which gave me side light on the bird. This is a tricky lighting situation. When the bird was facing left into the sun the bright whites on the breast and neck “blew out” (too bright with no detail) and the shadows on the back of the shrike were too dark. But when it turned to its right and looked over its shoulder at me the exposure worked much better. The problem with this pose was getting both light in the eye and good eye contact. This image was one of the few that worked. I like the contrasting cool and warm tones on the shrike….
