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Birds in Nature -
images of wild birds by Richard Ditch
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Table of
Contents
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Reasons for Taking Bird
Photos
There can be as many reasons for photographing birds as
there are bird photographers; most people take bird photos for a
multitude of reasons:
- record personal memories of birding trip
- documentation of rarities
- restore interest in common or overlooked species
- study of plumages and behavior
- creation of fine images for display, publication, or
sales
- share through the Internet
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The Photo Process
Many factors are involved in creating a bird
photograph. All are important to obtaining a quality final image.
- locate subject
- evaluate surroundings
- evaluate light
- match film properties to light, conditions, and eventual use
of image
- set camera controls correctly
- use proper focal length lens
- position relative to subject (closeness and elevation)
- scan the image (if taken on film and destined for web
use)
- correct color, contrast, sharpness of scan
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What Makes a Good Bird
Photo
Fundamentally, a "good" bird photo is one that meets
the needs of the photographer. So, what is "good" to one person is
not necessarily good to another viewer. But even photos taken for
documentary reasons can benefit from the photographer's attention to
the basic qualities of the photograph: proper technique and good
composition.
Technical Factors:
- sharp
- proper exposure
- detailed
- decent image size of primary subject
- accurate color
Aesthetic Factors:
- composition
- mood
- lighting
- proper/supportive surroundings
- avoid image amputations
- convey photographer's passion for the subject
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Ethics of Bird
Photography
Simple: the Bird and the Habitat are more
important than the Photo.
- don't stress birds by getting too close
- don't trim around nests
- don't create a path for predators to follow to a nest
- don't keep a bird from feeding or tending to young
- don't force feeding birds to fly
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Equipment
Considerations
Although the photographer's technical and artistic
abilities are the most important factors in producing excellent
photos, inappropriate equipment can limit the results. Determine what
equipment you really need, get the best optics you can afford,
compromise on body features to save money before compromising on
optics, and stick with proven brands.
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Equipment
Recommendations & Generalities
- Format: 35 mm for quality, availability, optics, portability,
film choice, features
- Brand: Canon and Nikon dominate and are both excellent
choices; Minolta, Olympus, and Pentax are good but have
limitations
- Desirable Features: auto focus, a matte focusing screen, motor
drive, aperture priority exposure mode, manual mode or override
for focus and exposure
- Other Nice Features: depth of field preview, AA battery power,
and a dedicated flash that determines exposure through the lens
(TTL)
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Choice of Lens
The lens forms the image and is the most important
piece of equipment. Factors to consider in selecting a prime bird
photography lens include:
- quality of image delivered (especially at maximum aperture
where it will be used the most)
- focal length to give sufficient magnification of small
subjects (300 to 400 for hand held flight shots; 500 to 800 for
most subjects)
- maximum aperture of lens for light gathering ability (f/5.6 is
the practical limit for reliable auto focus in most systems; f/11
is the practical limit for manual focus in good light)
- close focus limit (closer is always better)
- size and weight (very important if portability is required for
hiking, working from boats, etc.)
- are matched teleconverters available to magnify the focal
length by 1.4x or 2x
- are extension tubes available to overcome close focus
limitations, and will they maintain full functional coupling with
the camera body
- rugged built-in tripod collar that rotates
- focus that is fast and accurate, and doesn't drift when
controls are touched or the lens is tilted up or down
- a used lens from a major manufacturer such as Nikon or Canon
is likely a better investment than a new lens of similar focal
length from an independent supplier if you need to save money on
the purchase price
Some specific recommendations:
- avoid mirror lenses - they have modest apertures, cannot be
stopped down for more depth of field, generally have lower
contrast, suffer from very noticeable light falloff in the
corners, produce distracting "donuts" from out of focus
highlights. But if portability is of significant importance then a
500/8 mirror lens may be a necessary evil if you can tolerate the
loss of image quality
- avoid wide range zoom lenses from independent manufacturers -
they are usually at their worst at the longest focal length just
where a bid photographer will be using them most
- a 400/5.6 auto focus lens is a good choice for portability and
hand held flight shots. Coupled with a quality 1.4x to make a
560/8 lens you get a decent optic for shooting in good light.
- a 300/4 AF lens with a matched 1.4x converter that yields a
420/5.6 AF lens is a good alternative to a 400/5.6.
- a 300/2.8 with a matching 2x converter that makes a 600/5.6
can be a good compromise of image quality, optical power,
portability, and affordability, but isn't something that you will
likely try to hand hold.
- a 500/4 is a good lens by itself, and quite usable with a
matched 1.4x as a 700/5.6 lens. One possible drawback is the close
focus limit isn't as good as a 300/2.8 with a 2x and often
requires an extension tube.
- a 600/4 has become the lens of choice for many bird
photographers. This lens has good optical power, plus enough speed
to be usable in low light conditions. It also works well with a
matching 1.4x converter as an 840/5.6 lens, and even with a
quality 2x as a 1200/8 lens. Canon's Image Stabilization
technology even allows their 600/4 to be used with both a 1.4x and
a 2x at the same time.
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Camera Supports
Long telephoto lenses coupled with slow, fine grain
slide film are an instant recipe for dangerously slow shutter speeds.
Some form of camera support is called for in almost all bird
photography. Some suggestions on what you can do:
- use a quality tripod that is big enough and stable enough for
your longest lens with teleconverter attached
- consider a Bogen 3021 series or larger tripod (crude &
noisy but strong and serviceable)
- consider a Gitzo 320 or better (expensive, harder to find
locally, but strong and of high quality)
- for maximum strength at minimum weight, get a Gitzo Carbon
Fiber tripod (very expensive)
- use a head designed for big, heavy lenses
- professional grade ball heads like the Arca-Swiss are
preferred by some photographers, but I don't like ball heads in
general
- Wimberley gimbal heads (see Useful Links)
are the favorites of photographers with 600/4 lenses,
especially for flight shooting (they are also expensive, heavy,
and not suited to small lenses without a rotating tripod
collar)
- professional grade "video" heads can work well if your lens
has a rotating tripod collar (and they work well for spotting
scopes as well)
- use a quick release system to mount your lenses on the tripod
head (Kirk and Really Right Stuff make "Arca-Swiss" style plates
for all the high-end cameras and lenses)
- use a commercial window mount (Kirk, Rue), build your own
custom mount, or try a good bean bag to work from your car
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Other
Accessories
- matched 1.4x and 2x teleconverters made by your camera and
lens company and designed for their long lenses are essential
- use extension tubes between the camera body and lens to
improve your close focusing limit. For a long lens you'll want at
least 25 mm of extension, and you may need to use as much as 75 mm
with a really long optic.
- a powerful electronic flash, also from your camera company,
that calculates exposure Through-the-lens (TTL) will be useful for
fill flash
- a Better Beamer, a light plastic lens that mounts in front of
the flash head, to concentrate the output of the flash. These can
be purchased through the Art Morris "Birds as Art" web site (see
Useful Links)
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Canon EOS Strengths and
Weaknesses
Strengths of the Canon EOS System:
- most complete range of auto focus telephoto lenses for bird
photography, with motors in lenses for fast and quiet AF
- excellent long zoom (100-400)
- 1.4x and 2x converters that work with all long lenses and can
be used stacked together
- extension tubes that maintain all auto focus and metering
functions
- Image Stabilization (IS) feature
Weaknesses:
- metering system that needs lots of user compensation
- white color of long lenses makes photographer even more
visible to birds and curious onlookers
Please keep in mind that I have never owned or used
a Canon camera or lens, so you should find other opinions on Canon
gear from people better qualified to discuss it.
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Nikon Strengths and
Weaknesses
Strengths of the Nikon System:
- long the industry standard for professional quality and
sharpness
- older manual focus lenses still work on modern AF bodies and
are plentiful on the used market for those on a budget
- best exposure metering available
- big telephotos use AF-S motor-in-lens design for fast and
quiet focusing
- black lenses that don't attract any more attention than
necessary
Weaknesses:
- 1.4x and 2x converters that fit only AF-S lenses and cannot be
used stacked together
- extension tubes that lose all auto focus and some metering
functions
- no AF version of the ancient but excellent 400/5.6 lens
- no Image Stabilization (IS) feature with big fast "bird"
lenses
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Film Recommendations
- film selection is a very personal matter
- trade off of film speed, grain, exposure latitude, contrast,
fidelity, saturation, cost, processing, and availability
- most bird photography is done on ISO 100 color slide film
- a neutral biased film without high saturation is essential for
natural looking nature photos
- high saturation films such as Fujichrome Velvia are preferred
by many photographers and supposedly sell better to photo
editors
- my standard film today is Fujichrome Sensia 100 or Provia 100
F (Sensia seems more natural to me, but Provia has less grain and
pushes well)
- for extra speed, shoot 100 F at an Exposure Index (EI) of 200
and have lab push process one stop (+1)
- for even more speed, shoot 100 F at EI 320 and push 2 stops
(+2)
- avoid films with an ISO rating over 400
- avoid high saturation films such as Fuji Velvia if you want
natural looking colors
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Getting Close
The real challenge of bird photography is getting close
enough to the subject to get a large size image of the bird on the
film. Birds are quite leery of a close approach, and the bulky
equipment that photographers must carry makes getting close even
harder. Expect that as a photographer, you will need to get two or
three times closer to any bird for a good photo as you would need to
get with binoculars for a good look. Don't expect that you will be
able to get good bird photos as part of a general field trip with a
group of birders, since they won't appreciate the much closer
approach you will need to make, or they won't want to spend as much
time as you need to get closer once they have already viewed the
bird. The best bird photos are usually taken on solitary outings.
- work with birds that are used to people: backyard feeders,
national parks, national wildlife refuges
- avoid places where others hunt as birds will be very wary of
people
- be patient
- approach slowly
- get low
- keep quiet
- use your car as a mobile blind
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Exposure
It used to be that all camera meters were
designed to render any subject as a middle tone with 18% reflectance.
Spot meters and center weighted meters still take this approach. The
latest meters (matrix in Nikon, Evaluative in Canon) try to determine
when a scene is other than 18% and adjust from a middle tone reading.
Nikon meters seem to do this better than Canon meters.
- learn what "middle tone" 18% gray looks like
- learn to judge a scene's departure from middle tone
- if the subject is brighter than middle tone and you want the
photo to be brighter, then give more exposure than the meter
indicates
- if the subject is darker than middle tone and you want the
photo to be darker, then give less exposure than the meter
indicates
- learn when you can trust your meter
- read the chapter on exposure in Art Morris's book if you have
a Canon camera
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Composition
Composition is simply the arrangement of the various
elements within the frame of the photo. Composition is a matter of
esthetics - what pleases one person may not please everyone else.
There are many published books and articles that talk about the Rules
of Composition, but I like to think of these not as rules but as
guidelines that suggest a starting point for your own vision. Here
are some things that guide my photography:
- get the largest possible image of the bird in the
viewfinder
- don't crop the body of the bird along one of the image
edges
- simplify the image whenever possible
- include appropriate habitat, since each species has evolved in
relationship to the natural world and is enhanced by it
- a natural background for a smaller image of the bird is
preferable to an incorrect background with a somewhat larger bird
image in almost all cases
- the subject dictates the format - use vertical orientation for
"tall" birds; crop to square format when it looks better
- don't cramp the bird by placing it too close to the frame
edge
- give moving birds space into which to move
- use directional lighting to create shadows and give shape to
the bird and depth to the image
- there's nothing wrong with a central placement of a strong
subject
- there's nothing wrong with direct eye contact with the
subject
I strongly believe that every photographer should use
personal judgment and react to the scene emotionally and with thought
for the particular situation, rather than relying on so-called Rules
of Composition. Much of the impact and artistry of photography comes
from the composition, and this can not and should not be dictated by
arbitrary rules.
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Where to Take Bird
Photos
Good bird photos can be made almost anywhere, as long
as the photographer has mastered the basics of photography and is
prepared for the opportunity. But some places offer something special
that makes an observant photographer return to them frequently.
Places to consider include national, state, and local parks, national
wildlife refuges, back country roads with little traffic, the coastal
beaches, and your own back yard.
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Characteristics of a
Good Bird Photography Location
Factors that I find important in defining a "bird photo
hotspot" include the following:
- it has birds of interest, whether these be wintering flocks,
restricted breeders, migrant traps, etc.
- it allows access by car, making it easy for me to bring the
necessary equipment, and permitting me to use the car as a mobile
blind.
- it provides suitable lighting.
- it is close by, so I can visit it frequently.
- it has usable backgrounds, either plain or naturally
compatible with the birds.
- the birds are relatively tame so that I can get close enough
to them for large images, such as around feeders, or in National
Parks or wildlife preserves.
- it lacks other people who may spook a subject, which rules out
many popular birding hotspots.
Some Recommended Places for Bird
Photography
Although I think it is essential for every bird photographer to
find personal locations of their own, here are a few recommendations
to get started. More information on most of these can be found
through the Useful Links.
- Cape May, NJ. Fall hawk migration; wintering gulls and
seabirds; migrant shorebirds.
- Sandy Hook, NJ. Migrant sparrows and warblers.
- Barnegat Light, NJ. Wintering Harlequin Ducks,
shorebirds.
- Chincoteague National Wildlife Refuge, VA. Spring and fall
migrants; fall Snow Geese; herons and egrets.
- Blackwater National Wildlife Refuge, MD. Wintering Bald
Eagles.
- Southern Florida. Point-blank herons and egrets, shorebirds,
Osprey, Bald Eagles, coots and rails.
- Coastal California. Gulls, shorebirds, herons and egrets.
- Lake Havasu, AZ. Wintering loons and gulls.
- Miller Canyon, Sierra Vista, AZ. Summer hummingbirds.
- Madera Canyon, AZ. Acorn Woodpeckers.
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Pelagic Trips
Boat trips off either coast offer interesting
opportunities for those who don't mind the risk of getting seasick,
sprayed with salt water, or bored. There are regularly scheduled
trips on both coasts, now conveniently summarized in a single issue
of Winging It from the American Birding Association.
Pelagics pose some special problems for bird
photographers. Space is limited on the boat; the boat is constantly
bouncing up and down or rocking from side to side; salt water spray
coats camera bodies and optics; you cannot escape sea sickness or
restock your supplies until you return to shore. But there is the
potential for some truly rewarding photography for those willing to
make the trip.
- Plan on hand holding your equipment for all shots
- Limit the amount of gear you bring
- A 400/5.6 AF lens is a great choice - light, mobile, and with
decent magnification
- A 300/4 with a matching 1.4x is a worthy alternative
- Shoot at maximum aperture at all times to maximize shutter
speed and minimize blur
- AF doesn't work on all pelagic subjects, so don't forget to
try manual mode if you are having trouble
- Use film speeds of at least ISO/EI 200
- Use a protective skylight or UV filter on the lens - it will
get covered with salt spray
- Use a clean white cotton cloth to wipe salt spray from your
gear
- Try to avoid bumping the railing with your dangling lens
- The front of the boat has the best air, but also the most
motion and salt spray
- The back of the boat has the least motion, but the worst air
(diesel exhaust) plus engine vibration
- A second body with a zoom (80-200, 75-300, 100-400) is handy
for gulls that make close passes or follow the boat
- Large sealable plastic bags are handy to protect gear when not
in use
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Shooting for the
Record
Taking documentation photos of rare birds is a special
case of general bird photography, with its own unique conditions.
Since the main purpose of such photos is to document the occurrence
of a rarity to an area, the aesthetics of the photo become of lesser
importance to the shot. The first priority is to get a photo,
regardless of all other factors. When you have the opportunity to
document an unusual bird, don't waste time trying to get perfect
conditions. While you wait for the light to change, or the bird to
move into more pictorial surroundings, it may disappear into a dense
bush or fly away completely, never to be seen again. Even the worst
of photographs can document the bird, as long as the subject is
identifiable in the image. Often, photos can be examined after the
fact to reveal subtleties that were missed in a brief view of the
bird in the field. Photos can support or contradict a natural origin
for the bird by allowing examination of feather wear. So, start
taking photos immediately.
After getting the first few shots, work on improving
the record by getting closer, getting into position for better light,
or showing the bird from a different angle. Remember that key field
marks may not be visible at all times or from all angles; the more
photos you take the better chance that you will capture important
details.
Pay attention to the bird's behavior, as this can often
help clinch an identification. Try to capture in photos the bird's
activity when feeding, moving, and perching.
Include a size indicator if possible in some photos.
This could be another bird, a nearby beer can, a dollar bill from
your wallet, or whatever common object is available. Try to show the
rarity with other, familiar, birds for comparison purposes.
In cases of extreme rarity, take photos on more than
one roll of film, and have them processed separately, to avoid a
processing accident that could destroy all the photographic evidence
of the bird. Having more than one photographer take pictures of a
rarity greatly increases the odds of getting decent documentation as
it avoids loosing all photos due to a camera malfunction or setting
error.
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References
There are a number of good photo reference books
available that can provide more information or inspiration to the
bird photographer. I recommend the following sources:
- Art Morris - The Art of Bird Photography, Amphoto
- Larry West - How to Photograph Birds, Stackpole
Books
- Tim Gallagher - Wild Bird Photography, Lyons &
Burford
- John Shaw - Nature Photographer's Complete Guide to
Professional Field Techniques, Amphoto
- The Birds Around Us, Ortho Books
- B. "Moose" Peterson - Nikon Guide to Wildlife
Photography, Silver Pixel Press
- Joe McDonald - Complete Guide to Wildlife
Photography, Amphoto
- George Lepp - The Natural Image, a quarterly
journal
- Outdoor Photographer magazine