Bird Photography Methods – Page 50 – Feathered Photography

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…

Just A Shot That I Like… #12, American Avocet Ballet

Occasionally an image still appeals to me despite significant imperfections. In this shot the cluttered background is not ideal nor are the specular highlights on the leg of the male’s reflection but I quite like the positions of both birds, their reflections and the good separation between the avocets and the reflections. 1/1250, f/10, ISO 400, 500 f/4, 1.4 tc Fighting avocets are very difficult to photograph because typically several male combatants are separated from each other by some distance and you never know which bird is going to go after another one next and when the action begins it is blindingly fast. There’s also the problem of getting enough shutter speed and depth of field for multiple birds in action. Shooting these birds fighting is nearly always a “poke and hope” situation. Setting the scene: I had been photographing four males fighting over a single female (sexes easily identifiable because the female has a shorter and more strongly recurved bill than does the male) when this male lifted off and attacked two other males just out of frame to the right. I just happened to catch the male in a good position over the female with reflections I liked. One of the things that made this shot work is that I had enough light to use f/10 for sufficient depth of field and still get a fast enough (just barely) shutter speed to get both birds relatively sharp. Ron

Just A Shot That I Like… #9 – Rough-legged Hawk Taking Off

I was looking down on this Rough-legged Hawk from an elevated road when it decided to take off. 1/3200, f/6.3, ISO 500, 500 f/4, 1.4 tc This shot illustrates both the blessing and the curse of using an attached teleconverter. If I hadn’t been using the tc for this image I’d have had two choices: 1), crop so that the hawk was much smaller in the frame which would have reduced the impact of the image or 2), crop so the bird was still this large in the frame which would have significantly reduced image quality and increased noise. So I’m glad I had the tc on for this shot. However, after take-off this roughie unexpectedly flew past me very close and I clipped or cut off many body parts in most of those images. If I hadn’t been using the tc I’d likely have been able to get some pretty spectacular flight shots with this nice background and good light. You just never know… Ron

Catch Lights in Bird Photography

Broadly defined, a catch light in photography is a reflection of a light source in the eye of a subject. In bird photography, that light source is often the sun and typically appears on the shiny, wet cornea of the bird as a single point reflection. However, as we will see, there are variations on that theme. Catch lights are highly desirable, to the point that many avian photographers simply delete virtually all photos that don’t have them (a painful process, to be sure). Others resort to artificially cloning them into the eye when they don’t appear naturally – a practice that I find distasteful, even dishonest for a nature photographer (that said, I’m not adverse to running an extra round of sharpening or a Levels adjustment to enhance a subtle catch light that already exists). Natural catch lights that are a direct reflection of the sun will appear in the upper half of the eye, usually from the 10 o’clock to the 2 o’clock position, depending on the angle and position of the sun behind the photographer. If the sun is behind the bird (back light) or too high in the sky, that kind of catch light will not be produced. Without “light in the eye”, viewers perceive the eye to be lifeless, “dead” or even evil. For this reason, cinematographers often deliberately eliminate catch lights on “the bad guys” in movies and television. There is almost no difference between the two American Kestrel images above except for the slight head turn in the first shot that allows light from the sun…

Lamenting the Loss of a Favorite Perch

This was a perch I had a love-hate relationship with for almost four years. It was a small, very old and sun-bleached snag along the road down unit 1 at Farmington Bay Wildlife Management Area. I loved it because American Kestrels liked to use it as a hunting perch, it was close to the road, not too high and it was natural and photogenic. I hated it because it was on the east side of the road (I could only shoot from the road in my vehicle – open the door and the kestrel skedaddles) which meant that I was usually shooting into the sun in the morning which is my favorite time to photograph birds. Back-lit kestrels are generally not a pretty sight… That road down unit 1 is closed for the nesting season (March through September) and I was very disappointed to see on my first trip down the road this fall that the snag was gone. It may have fallen down on its own, been removed by refuge managers (which I doubt) or perhaps it was vandalized – I just don’t know. But I will miss it, as will the kestrels I’m sure. Avian photographers on this continent are well aware of how difficult this species is to get close to – they’re very skittish and almost never allow a close approach for photography. That changes in mid-winter when it’s very cold. They simply are much more reluctant to fly when it’s that frigid and the photographer can occasionally get quite close to them, especially when shooting from a vehicle. But most nature photographers…

Just A Shot That I Like…#4 – Cliff Swallow In Flight

I’ll admit that part of the reason I like this image as well as I do is the degree of difficulty involved in getting the shot. Swallows are small and very fast which makes for a difficult flight subject. For years I’ve tried getting sharp, well-lit, frame-filling images of them and failed miserably. My best shots seemed to have one or more of the following issues – soft, too small in the frame for good detail, poor head turn or no light in the eye. But the most common flaw was poor light on the underside of the bird. So I decided to change my tactics – yes, I’m a slow learner at times… Cliff Swallow 1/2500, f/6.3, ISO 800, 500 f/4 It finally dawned on me that to consistently get light under the bird I had to shoot when the sun was very low, morning or evening. But when the sun is that low the light is also relatively weak which means higher ISO’s and apertures that provide less depth of field. To help mitigate that problem I took off the teleconverter (at times swallows can be relatively easy to get close to) to give me a little more light, faster shutter speeds and more responsive autofocus. And it worked! I got this shot and several others I liked on the first morning I tried the new tactics. Don’t get me wrong – swallows in flight are still extremely challenging (on this morning I took about 600 shots to get 3 or 4 I was pleased with) but at least it was now possible. Another…

Bald Eagle Nictitating Membrane

The nictitating membrane (nictitan) is a membrane or “third eyelid” found in some vertebrates that can be drawn across the eye for protection and to moisten and lubricate the surface of the eye. It is either translucent or semi-transparent so the animal maintains sight while it covers the eye. Birds, sharks and some reptiles have a fully functional nictitating membrane while in most mammals there is only a small vestigial remnant in the corner of the eye. However camels, polar bears, seals, aardvarks, marsupials and monotremes do have fully functional membranes. 1/2000, f/8. ISO 500, 500 f/4, 1.4 tc This nearly adult (head not yet completely white) Bald Eagle is neither tame or captive. But for several days in 2009, beginning on a bitterly cold Christmas morning, this adult adopted a favorite perch (a relatively short pole) that looked out over a pond with fish in it. The pole was so close to the road that I sometimes had to take off my teleconverter to get the entire bird in the frame. It warmed my heart that the eagle was so comfortable with me this close and that was a very good thing because Mia and I almost froze to death over the many hours of photographing this magnificent bird. This is the normal appearance of the Bald Eagle’s eye. In adult birds, eye color is typically some shade of yellow with a distinctly visible pupil (though juvenile birds have much darker eyes). 1/2000, f/8. ISO 500, 500 f/4, 1.4 tc But every few seconds the bird swipes the nictitating membrane across the…

Critters Among the Sunflowers of Antelope Island

Antelope Island is ablaze with color this fall, provided by the common sunflower Helianthus annus. The sunflower display is really quite spectacular this year – the most prolific I’ve ever seen it. I suspect it’s because of the very wet spring we’ve had. The sunflowers can provide a very pleasing setting for wildlife photography, whether the flowers are in focus along with your subject or out of focus to show off some pleasing and unusual color in the background bokeh. Canon 40D @ 72mm, 1/800, f/6.3, ISO 320, EV +0.33 It’s unusual for me to get so close to a pronghorn that I don’t have to use a telephoto lens but these bucks are in rut right now and they’re so intent on herding their harem of females that they’re not nearly so wary of people and vehicles. So I quickly pulled out my old 40D and shot this handsome fella at only 72mm while he was right next to my pickup and staring intently at his ladies close by. This allowed me to keep many of the sunflowers relatively sharp and gave a different “feel” to the image than I usually get with my big glass. Canon 7D, 1/2500, f/5.6, ISO 640, EV + 0.33, 500 f/4, 1.4 tc In contrast to the previous image, this Vesper Sparrow was shot with my 500mm and 1.4 teleconverter (1120mm with the crop factor of the 7D) at f/5.6 which gave me very little depth of field – just enough to get the sparrow sharp but the sunflowers in the background…

Category: Bird Photography Methods