Bird Photography Methods – Page 49 – Feathered Photography

The Trouble With Harriers

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 –…

Shrikes And A Lesson For Me In Light

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….

Burrowing Owl – Same Bird, Same Perch, Different Angle

I’d like to make a point with this post. It’s one that every experienced bird photographer knows on some level but in the heat of the moment (it can be very exciting getting close to a “good” bird in nice light) it’s one that is easily forgotten. I’m getting much better at remembering but I still slip up occasionally. The point? Very minor changes in your shooting position can make huge differences (positive, negative or indifferent) in your photo. I’ll illustrate that point with a couple of shots that I took this morning. They’re not my best Burrowing Owl images but they’ll serve their purpose here. 1/160, f/7.1, ISO 640, 500 f/4, 1.4 tc, natural light, not baited, set up or called in This morning we think we found a new (to us) Burrowing Owl burrow right next to the road on Antelope Island that we’ve probably driven by several hundred times and never noticed. We don’t know for sure that it’s an owl burrow because we didn’t get out of the pickup and go tromping all over the area to inspect it. And right next to it was this juvenile owl, perched on a sagebrush, where we’d never seen an owl before. It had been cloudy but some light had begun peeking through a “crack” in the clouds when this shot was taken. It’s a “busy” perch and when the sun began to come out the bird was sidelit so I decided to change my position slightly… 1/320, f/7.1, ISO 640, 500 f/4, 1.4 tc, natural light, not baited, set up or…

Red-tailed Take Off From Farmington Canyon Complex Rocks

I’ve said before how much I prefer the very dark Farmington Canyon Complex rocks on Antelope Island as perches, over the bright white Tintic Quartzite rocks found on the northern part of the island. This juvenile Red-tailed Hawk made my morning last month when it chose just such a rock to hunt from. I always enjoy it when I can get multiple shots of some interesting behavior or action in sequence. To me it’s almost like a very slow motion video and though it may include a few images that aren’t perfect individually I think that collectively the photos gain value as a group for what they illustrate – the whole can be greater than its parts. 1/2500, f/7.1, ISO 400, 500 f/4, 1.4 tc, shot from pickup window, natural light, not baited, set up or called in Photographing take-offs is always a challenge. The bird may just sit there for a half hour or longer but when it happens it’s quick and easy to miss. 1/2500, f/7.1, ISO 400, 500 f/4, 1.4 tc, shot from pickup window, natural light, not baited, set up or called in You also need to be concerned about what direction it will go and if you’re too close (it’s easy to clip wings if you are) or too far away (which shows less detail). Those with zoom lenses have an advantage over me because they can quickly adjust their focal length to whatever they want within their zoom range, while the only option I have is to attach or detach my teleconverter, which is cumbersome and takes time. …

Frosty Northern Harrier

This is a shot that I like, partly due to the somewhat unusual effects of the light and the resulting colors. 1/1250, f/8, ISO 500, 500 f/4, 1.4 tc, shot from pickup window, not baited, set up or called in It was taken on a very cold January morning (notice the frosty perch) just as the sun was coming up over the Wasatch mountains and the warm colors from the very low sun, combined with the light bouncing off all of the Phragmites in the area, gave the overall image a bit of a slightly unusual color that appeals to me (as usual, I made no color adjustments during processing). After my last post on composition it seems that I’m fretting about cropping options even more than I usually do. I often try several versions, make a decision, then use (or post) just the one I think I like best. But in this instance I just wasn’t sure, so I decided to post two versions. Typically, my gut instinct is to go for the tighter crop (the vertical in this case) because of the better detail on the bird, but I’m trying to expand my horizons a little and become more flexible with the options I consider. If you have a preference between these two images I’d love to hear about it, but please don’t think you need to choose one over the other if you decide to comment on the image. And this will be the last time (at least for a good long…

Compositional Mind Games

There are times when I really struggle with composition when I’m cropping an image. To a degree, composition is a matter of taste and personal preference, though most folks would agree on a few major principles. Some of those might be: avoid clipping body parts or cropping too tight on the subject the subject usually (though not always) should not be centered in the frame leave plenty of room in the frame in the direction the subject is facing, looking or flying (in the case of birds) Where I sometimes run into difficulty making a composition decision is when there are other compositional elements in the image that I might like to include in the final version of the photo. Thanks largely to the influence of Richard Ditch, I’ve become fond of strong graphic lines in some of my images, as long as those lines come from natural or rustic elements (power poles or wires just won’t cut it with me). This summer I photographed a juvenile Red-tailed Hawk on an old, rustic pole fence in Beaverhead County, Montana and I’m having a very difficult time making cropping decisions on some of those images. My natural tendency is to crop fairly tightly on the bird to get good detail on the subject but I also like the graphic lines provided by the fence with different cropping choices. Several times I’ve thought I’d finally figured out which version I prefer, but when I came back to the computer a few hours later and looked at them one more time I was again undecided. Compositional mind…

Red-tailed Hawk With Blooming Rabbitbrush

I love the fall colors of the blooming rabbitbrush on Antelope Island. I’m always looking to photograph songbirds perched on it because it can make such an attractive setting but for some reason they don’t often use it for a perch. But about two weeks ago I was able to get some images of this juvenile Red-tailed Hawk with blooming rabbitbrush in the setting and even though, in many of those photos, the rabbitbrush is a little “busy” and takes attention away from the bird, I still liked the shots for a change of pace from the soft, unidentified bokeh that is often preferred in avian photography. Some of these shots show habitat well and sometimes that’s a good thing… 1/2000, f/7.1, ISO 500, 500 f/4, natural light, not baited, set up or called in This bird had been “sit and wait” hunting as it was perched very low and close to me on a rusty, metal gate when it spotted something at the base of this rabbitbrush and flew in for the capture. At first I thought it had been successful because the hawk was “mantling” (spreading wings and tail over prey to hide it from potential competitors) but in the end it came up empty-taloned. 1/2000, f/7.1, ISO 500, 500 f/4, natural light, not baited, set up or called in So it soon flew off and I was able to get some shots as it did so. I like the dynamic take-off posture in this image, though some may find that the relative sharpness and bright…

Getting Close To The American Kestrel

One of the first lessons bird photographers learn (often to their great frustration) is that you must get close to your subject in order to get good detail. Very close. Even if you’re shooting with a long, expensive lens. And getting close usually ain’t easy! Large crops rob detail. I’m of the opinion that cropping away any more than about 50% of the image generally does unacceptable damage to image quality. Some species are relatively easy to approach – around here American Robins, Mourning Doves and House Finches come to mind. Other species have a reputation of being particularly skittish and at the top of that list for many photographers is the American Kestrel – a strikingly beautiful little falcon that is found throughout most of North America. For many years I’ve posted bird images on an internet avian critique forum and whenever I’d post a shot of a kestrel I’d invariably get comments that went something like this: “How in the world did you ever get this close to a kestrel? I always see them perched up high on poles or wires and whenever I even begin to get close they fly away”. Well, here’s the secret – photograph them when it’s cold. Very cold! That means in the depths of winter. It also means in the early mornings on those days when it’s coldest of all. I’ve found that many species of birds are more reluctant to fly in the cold but that tendency seems to be magnified with the kestrel. I’m not sure why but as a photographer I’m more than happy to…

Lens Caddy – An Invaluable Tool For Photographing From A Vehicle

The perennial problem for those of us with long, heavy and very expensive lenses who shoot from our vehicles is how to stow our gear where it is readily and instantly available for use but also protected from crashing to the floor when you hit the brakes for an unexpected photographic opportunity or run into rough, washboardy roads that bounce your camera and lens all around. Many of us have 5 – 10 thousand dollars (or more) tied up in just one camera and lens combination and that investment must be protected. But if your gear is safely tucked inside a padded case you’re guaranteed to miss many wonderful shots as your subject (birds or wildlife) scoots away while you’re retrieving your camera and lens. For me the perfect solution to that dilemma is my homemade “lens caddy”. I’ve been using it for years now so it’s a little beat up (though I did give it a new paint job and replaced the felt recently) but for my purposes it’s invaluable. I made it in my wood shop. It’s secured to the seat console by extensions on the bottom that fit very tightly into the cup holders. Felt pads protect both camera and lens where they meet the wood, though the pads up front for the lens are probably unnecessary because I have a protective lens coat on my lens. The lens plate fits tightly and securely into the slot on top of the caddy. Here you see the camera and lens in place. When I need it everything simply lifts out in one…

Landing Red-tailed Hawk

I haven’t often succeeded in photographing a landing raptor. When they take off they usually don’t come back and when they do it’s often difficult to maintain focus on them as they land because of close backgrounds. However, this immature Red-tailed Hawk gave me just such an opportunity a couple of days ago. 1/2000, f 7.1, ISO 500, 500 f/4 It was hunting from a huge rock outcropping and looking down over the valley in the background of this image. I spent quite a while with this bird but it was side lit and I wasn’t very optimistic about getting a decent take-off shot because I expected it to spot potential prey in the valley below and take off away from me, giving me butt shots only. 1/1600, f 7.1, ISO 500, 500 f/4 Which is exactly what happened. However, I saw where the bird landed far below in the valley, missed the prey and took off again so I wondered if I could be lucky enough for it to return to the same perch. I wasn’t particularly optimistic because I was so close to the rock (you’ll notice from my techs that I had even removed my tc). The problem was that as soon as the hawk took off from that distant perch it disappeared behind the same massive rock outcropping on the side of the mountain that had been its perch and if it did return I wouldn’t know it until the very last split second, as it flared up to land on the rock from behind and below it. So I prefocussed on the likely…

Curlew Peekaboo Take-off

When Long-billed Curlews take off they have a little trick they use to get airborne quickly. This is our largest North American shorebird and in addition to their extremely long bill they have very long legs. Since this is a grassland species it would often be very difficult to get a running start at take-off through the tall vegetation so they use their long legs to full advantage by crouching so low that their belly often touches the ground and then they spring into the air by quickly straightening those very long legs (jumping). This can be problematic for the photographer wishing to get take-off shots because this is a large bird and they explode into the air so quickly that you tend to either cut off part of the bird or lose focus on the subject at the most critical point of the take-off. But knowing and anticipating their behavior can give you a better chance at a quality shot or two. These three images from yesterday on Antelope Island are sequential in a quick burst at take-off. The first two are of crappy quality but I include them to illustrate my point. Here the curlew has crouched as low as it can get prior to take-off. I temporarily lost sharp focus on the head because of the foreground vegetation and because of camera movement as I moved my aim upwards in an attempt to get the entire bird in the frame as it lifted off. In the second shot of the burst, focus has locked onto the bird again as…

The Harrier And The Dumpster

Multiple times in the past few years there’s been a Northern Harrier perched on one of the bushes around this gravel parking lot but without exception every time I’ve tried to approach the bird it has flown off before I could get close enough for a quality shot. Frustrating… So earlier this week when I spotted a handsome male on the large darker bush to the right in the photo below I decided to try a different tack. Birds very often seem much less inclined to spook if there’s something between them and the photographer and it doesn’t have to be anything very substantial – even a few twigs will often do. Having something physical between them and a potential threat seems to give them a sense of security. So even though I’ve often cussed this ugly old dumpster over the years (I realize it’s there for a very good reason) I decided to try to put it to good use for my purposes. I slowly drove to the left of the dumpster, turned around and approached the bird with the dumpster between me and the harrier. The harrier obviously knew I was there but with the ugly old hunk of metal between us it didn’t fly off. Then as I got very close to the dumpster I slowly turned to my right just far enough to give me a look at the bird through my lens from my pickup window. 1/3200, f/6.3, ISO 500, 500 f/4, 1.4 tc As you can see the harrier was…

Shutter Speed and Take-off Shots

Just a single image today, to illustrate a lesson I’ve learned before but “relearned” yesterday. I shoot lots of birds at take-off, particularly raptors. For those larger subjects relatively slow shutter speeds will usually freeze the motion, even in the wings. Typically, 1/1200 or 1/1600 will do just that. 1/3200, f/5.6, ISO 500, 500 f/4, 1.4 tc, cloned out an OOF sunflower stalk to the right of the bird So yesterday after I’d taken a few perched shots of this shrike I set up for a take-off since it was facing to my right and I figured it would take off in that direction, giving me both good light and a take-off posture that would require relatively little depth of field so f/5.6 would suffice. Then I noticed that I had a shutter speed of 1/3200 and I remember thinking that might be a little excessive and I should dial back to f/ 6.1 for slightly more DOF and less shutter speed. But I knew that if I took a moment to change my settings the bird would choose that instant to launch and I’d miss the shot. So I stuck with my settings. I’m glad I did. Wing motion in these little birds is incredibly fast! Here, even 1/3200 didn’t completely freeze the wings. Don’t get me wrong – a little motion blur in wings of birds in flight isn’t an issue with me and I’m perfectly happy with this image the way it is. But for my tastes I’m glad there’s no more motion blur than there is. Ron

Farmington Bay Bald Eagles 2012 – A Bust!

Farmington Bay Wildlife Management Area is typically a mecca for birders and bird photographers during January and February. When it gets very cold many of Utah’s wintering Bald Eagles congregate there and create quite the spectacle for avian enthusiasts. Though I’m not particularly fond of photographing birds among throngs of people I usually can’t resist the unusual opportunity with these magnificent birds and join in the fray multiple times during the “season”. 1/1250, f/7.1, ISO 500, 500 f/4, 1.4 tc One thing that especially appeals to me about Farmington Bay is the opportunity to photograph these eagles in flight with the Wasatch Mountains as a background. Even though such a background makes it much more difficult for focus to “lock on” the bird I really like the dramatic backdrop the dark, often shaded mountains provide when there’s light on the eagle – much more appealing for me than the typical blue sky background. Typically there are hundreds of eagles at the refuge during “prime time”. I once counted 225 birds and that’s just the ones I could see. Others have reported from 300-400 birds. This photo should give you some idea, though it shows just one small portion of Unit One. The concentration of birds was about the same that day everywhere you looked over the ice. This is the famous “eagle tree”. I’ve seen as many as 20 birds on this one perch alone. Of course the eagles prefer to look south over the ice and water so it’s difficult…

Shrikes, Pellets and Photographer’s Frustrations

For about three years now one of my photography goals has been to get a series of quality shots showing a Loggerhead Shrike regurgitating a pellet. My requirements were that the images must be sharp with good detail and light, there must be no significant distractions or clutter to interfere with the behavior, there should be light in the eye (a catch light) and the last shot must show the pellet after it has left the birds mouth. This post is a progress report of sorts on how I’ve fared with the goal. I’ll include some lessons I’ve learned and mistakes I’ve made so I hope you’ll bear with me through a few less than ideal images which help to illustrate some of those lessons. 1/1250, f/8, ISO 640, 500 f/4, 1.4 tc This was my first image of a shrike ejecting a pellet (3/3/10). I didn’t anticipate it happening and wasn’t even sure what was going on until I processed the image. I got two almost identical shots that showed the pellet in the mouth and missed the pellet as it was ejected (I think I remember my buffer filling up just about then). I was also too far away for good image quality – this is a large crop. 1/3200, f/6.3, ISO 500, 500 f/4, 1.4 tc On the next opportunity (8/5/11) I was frustrated by obstructing branches and a poor light angle. While this young bird was ejecting the pellet it was facing mostly toward me which put its face and the pellet in shadow. Then the juvenile did something completely unexpected…

Category: Bird Photography Methods