Posts tagged ‘birds’

Multi-flash Hummingbird Photography by Nate Chappell

A Sword-billed Hummingbird (left) and a Chestnut-breasted Coronet battle over a hummingbird feeder. © Nate Chappell

A Sword-billed Hummingbird (left) and a Chestnut-breasted Coronet battle over a hummingbird feeder. © Nate Chappell

Images and Text by Nate Chappell

Photographing hummingbirds in flight in countries like Ecuador and Costa Rica with natural light or with just one flash can be very difficult. The reason – most of these birds live in the cloud forest where there isn’t much light due to both shade from trees and cloud cover. One solution for this, which creates beautiful flight shots, is a multi-flash hummingbird setup. By setting up several slave flashes set to 1/32 or 1/16 power around a hummingbird feeder or flower you can produce stunning images of hummingbirds in flight. The reason is that the flashes are actually synching at speeds of 1/8000 to 1/12,000 of a second changing the effective shutter speed from what is on your camera – let’s say 1/200 sec to the lightning fast speed of the flashes synching. The key to this is having the flashes produce all of the light, otherwise you will be mixing ambient light and flash lighting. In that case the 1/200 sec shutter speed will affect the image by causing blurring in parts of it. So you need to have your camera’s exposure set to at least -3 or -4 stops below the ambient lighting.Another helpful component is to have an artificial background – often a large printed photograph held a few yards behind the mutli-flash setup.

The camera settings I typically start out with are working in manual mode, ISO 400, f/22 and 1/200 sec (Note: you need to keep your flash below it’s maximum normal synch speed). In a dark environment this will get you a few stops below what the ambient meter reading would be. The high F-stop helps get both the hummingbird (sometimes hummingbirds) and the flower in focus when working at close range. Hummingbirds are quite tolerant when feeding so while your flash set up may scare them away at first, they will come back.

Velvet-purple (left) and Buff-tailed Coronets in Mindo, Ecuador. © Nate Chappell

Velvet-purple (left) and Buff-tailed Coronets in Mindo, Ecuador. © Nate Chappell

As far as equipment, any intermediate zoom or telephoto lens works well. I often use the Canon 300mm f/4. Zooms like the Canon 100-400mm or Nikon 80-400mm are ideal as you can zoom in or out depending on how large the hummingbird is or if there are multiple birds. Some photographers prefer to use a fixed 500mm to maximize detail. I am always on my tripod, aimed at the feeder or flower. That way, I can quickly fire off a round of shots if a bird approaches. You also need an on-camera flash that has manual settings. Even though the flashes are at 1/32 or 1/16 (they all need to be set to the same power) I am often at 1/64 on my on-camera flash. We use Nikon SB-26 flashes for slave flashes. I know that sounds strange when I say that I am a Canon shooter. The nice thing about the Nikon SB-26’s is that they will synch automatically with any flash – it doesn’t matter whether it is a Nikon or not, and that means we don’t need any other wired or wireless triggers. This allows participants on our tours to photograph with their normal cameras – Nikon, Canon, Pentax, etc. – as long as they have an onboard flash with manual setting capability.

We typically use six slave flashes. We place five around the hummingbird feeder and use one to light up the background. The flashes are set at varying heights so that both the bottom and top of the birds are lit up. They are set anywhere from two feet to five feet from the hummingbird feeder, with three on one side and two on the other side. You can use lots of different light stands to hold your flashes.   Although fairly expensive, I prefer Manfrotto 6.75’ light stands. They are sturdy but short enough to fit in a normal sized duffel bag which isn’t overlong for international flights (folded up they are a bit longer than two feet). I use Novoflex Neiger 19 mini ballheads to attach to the top of the flash stands and hold the flashes. They are around $50 each. I have tried much less expensive mini ballheads but they break easily and don’t give me the ability to move the flash head as easily as the Novoflex Neigers. After some hummingbirds have started to come to our feeder, I will remove the feeder and hold a flower in place with a Wimberley Plamp. I insert sugar water into the flower with a syringe. This allows us to get photos of the hummers feeding at flowers. If the activity dies back down, I will put the feeder back up to get birds coming in again.

So, where are good places to do multi-flash photography? The answer: Anywhere there are plenty of hummingbirds! Ecuador and Costa Rica are two of the most popular locations. Ecuador has over 150 different hummingbird species. On a tour with stops at a few different lodges, it’s possible to get good images of about 30 species. At some of the cloud forest lodges there are literally hundreds of hummingbirds buzzing around. In the United States, Southern Arizona is probably the best location in terms of the number of species. In the Eastern United States, you can also get great action with Ruby-throated Hummingbirds, particularly during migration. My wife, Angie, is from Ecuador so we lead bird photography tours and spend some time there each year. We also do multi-flash photography on our Trinidad and Tobago tour and on our Arizona workshop. You can see some of the stunning birds we see and photograph in the images here. All of these images have placed in the NANPA Showcase within the past few years. And, a participant on one of my private Ecuador tours even took an image that was an award winner in this year’s BBC Wildlife Photographer of the Year birds category! To see more info on our tours and workshops see www.trogontours.net

Chestnut-breasted Coronet - Guango Lodge, Napo Province, Ecuador. © Nate Chappell

Chestnut-breasted Coronet – Guango Lodge, Napo Province, Ecuador. © Nate Chappell

Observing an Osprey’s Pursuit by Robert Strickland

© Robert Strickland

© Robert Strickland

Images and Text by Robert Strickland

I recently observed one of the greatest nature shows I had ever witnessed. I was over at a subdivision near my home, which has good-sized pond. I was there to photograph water birds and other water fowl that frequent the pond. While I was setting up and watching for subjects, I kept hearing an Osprey cry out. I soon discovered him on the top of a tree just across the pond from me.

As I was focusing my eye on him, he swiftly took off and climbed high above the pond. The osprey suddenly went into a hover, staring into the water below. Finding nothing, he started flying around in circles, and then went back into a hover, moving side to side, hovering, and then going around in circles. After a few moments, he did a free fall toward the water. I immediately swung my camera to capture the aggressive splash and watched him fly off with a fish. However, the fish he picked was much too big and he could not immediately get it out of the water. He was stranded with his wings spread, trying to stay afloat with a huge fish in his razor sharp talons. After a few moments of struggling, he was airborne and flew off with his catch. However, he only got to the edge of the pond because the fish was so big.

Read the rest of this entry »

Balancing Flash and Ambient Light by Charles Glatzer

Image by Charles Glatzer

Image by Charles Glatzer

Text and photographs by Charles Glatzer

When I hear someone say, “I hate flash images,” it typically tells me they feel uncomfortable or do not fully comprehend how to use flash effectively.  Many people state that they can always tell when flash is used as the images have a “flashed” look to them. By this they mean that the subject appears overly bright and unnaturally lit within the image. By applying varying levels of flash output, we are able control the degree of subject illumination independent of the ambient light. Keeping the flash and ambient exposure separate in your mind will help you better achieve your goal.

The image of the heron on the nest (above) is a good example of how I use flash to balance ambient light. Here are the steps I took to make this image using flash.

1. First, I used my in-camera spot meter to check the yellow background highlight and I set my exposure 1.3 stops above the mid tone (in this case, my exposure was 1/250 sec at f/8 at ISO 200).

2. Next, I focused my lens on the subject and read the distance scale on my lens (in this example, 10 ft). Since my flash was on the camera, the flash-to-subject distance was the same as the lens-to-subject distance (10 ft).

 

Where to check the focusing distance on your lens.

Where to check the focusing distance on your lens.

3. Then, I set my flash to manual mode, which allows me to control the flash output independent of the exposure. I used the Select button on the back of the flash, turning the dial to place the black bar even with the subject distance. (Note: Strobes will vary by manufacturer. Some use buttons, others wheels, or a combination of both to alter the flash output.) Altering the flash output moves the distance scale, and that is what you are concerned with at this point. Do not be concerned if the scale says 1:1 or 1/128. Just make sure the distance appearing on the scale (10 ft in this example) is the same as the focus distance on your lens (10 ft).

 

Where to look for the focusing distance on your flash.

A few examples of where to find the focusing distance on your flash. Flashes set to manual.

TIP: When you zoom to alter your lens focal length, the flash will also zoom to evenly illuminate the field of view. If you take a given quantity of light and squeeze it into a narrower or wider area, the output of the flash (known as the guide number) will vary. Thus, you will need to adjust the flash power each time you change the focal length of your lens. I suggest you manually fix the flash zoom to the widest focal length you plan on using. No worries if you are shooing a fixed lens.

If all other factors remain constant (f/stop. shutter speed, ISO and background illumination), both the background and the subject will be perfectly illuminated.

If you want to get a firm grasp on how to use flash effectively, consider taking Charles (Chas) Glatzer’s STL Tech Series Flash Seminar. Chas’ work has been celebrated internationally with over 40 prestigious awards for superior photographic competence demonstrated through photographic competition, advanced education, and service to the profession. His images are recognized internationally for their lighting, composition, and attention to detail and have appeared in many publications worldwide including National Geographic, Outdoor Photographer, Popular Photography, National Parks, Discover Diving, Smithsonian, Professional Photographer, Birder’s World, Birding, Nature Photographer, EOS, Digital PhotoPro, and many more.

Visit http://www.shootthelight.com/ to learn more. 

NATIONAL PARKS: Everglades National Park, Story and photographs by Jerry Ginsberg

As cold weather approaches in northern climes, a nature photographer’s thoughts often turn to warm destinations for a winter photo trip.

Everglades National Park stays warm year-round. It includes 1.5 million acres on the southernmost tip of the Florida peninsula. Established just after World War II, Everglades protects the last remnant of a precious primal wetland from the land-hungry development and agriculture that has gobbled up the rest of South Florida.

Everglades

Everglades

The major characteristics here are dictated by the primordial flooding and resulting overflow of Lake Okeechobee every summer. All of this water makes its way southwest as the venerable and slow-moving “River of Grass.” More a shallow sheet of water than a conventional river, the life-giving liquid has created vast areas of sedges, tropical grasses and countless raised hammocks. Tiny islands of loose land pop up from the swampy river and support small trees that take advantage of the increased drainage provided by their slightly increased elevation.

Great Blue Heron

Great Blue Heron

This fertile land is home to a variety of wild creatures. First among them are many species of birds: herons, egrets, ibises, hawks, anhingas, cormorants, coots, moorhens, gallinules, pelicans and the occasional osprey and roseate spoonbill. Many of these birds can be found and photographed nearly anywhere in the park.

In the relatively dry months of winter, water levels are low, and many birds congregate in and around the ponds along the roads. Check Mrazek and Eco ponds, Florida Bay and Snake Bight for spoonbills and the western islands and sandbars off Chokoluskee for white pelicans.

Royal Palm Alligator

Royal Palm Alligator

After the birds come the famous reptiles. While most folks are familiar with the alligators that populate this area, less well-known are the crocodiles. Both are near the limits of their ranges here, and the two comingle in the brackish waters—a unique combination of salt and fresh waters. A word of warning: While appearing slow and somewhat sluggish, these carnivores are capable of moving very quickly, so keep your distance!

Gators often hang out in the sloughs along the Anhinga Trail in the Royal Palm area, Nine Mile Lake, and along the tram roadway in Shark Valley. Crocodiles are seen infrequently. Your best bet is the waterways in the Flamingo area.

The fabled Florida panther with its severely dwindling numbers may or may not be present in the park. The likelihood of seeing one in the wild is virtually non-existent.

West Lake

West Lake

At any time of year, the best photography is available during the low-light hours of early morning and early evening. Winter is the dry season, so true storm light will likely be hard to come by. Still, these subtropical skies can be dramatic at any time. Some of the best spots for sunrise and early morning light are West Lake, Nine Mile Lake, Florida Bay and right along the road to Flamingo, the southernmost headquarters of the park. For late afternoon light, I favor Paurotis Pond and Eco Pond.

During your time in the Everglades, try taking the tram ride through Shark Valley and a boat tour from the visitor center in Everglades City. Explore Big Cypress National Preserve and less well-known (but worthwhile) Biscayne National Park, only a few minutes east of Homestead.

The close-by section of US highway 1 through Florida City and Homestead offers a good choice of lodgings and restaurants. Rent any regular passenger car in Ft. Lauderdale or Miami Airport if arriving by air. Don’t forget to pack sunscreen and insect repellent.

Note: There has been a recent infestation of deadly Burmese pythons in the Everglades, so exercise extreme care.

Jerry Ginsberg is a widely published freelance photographer and co-founder of Master Image Workshops. He has photographed all 59 U.S. national parks as well as most of the parks of South America using medium-format cameras. More of Jerry’s work can be seen at www.JerryGinsberg.com. Email – jerrygi@comcast.net.

South Texas for the Wildlife Photographer by Jeff Parker

Painted bunting by Jeff Parker

Painted bunting by Jeff Parker

Images and text by Jeff Parker

The desolate landscape of the South Texas Brush Country doesn’t look like much, but the biodiversity makes it one of North America’s best places for wildlife photography. It definitely ranks high on my list!

Scientists classify South Texas as a “semi-arid, sub-tropical” region. The result? Lots of wildlife! That includes a large number of bird species living at the far northern edges of their ranges.

Many—e.g. Kiskadee, Green Jay, Audubon’s Oriole, Couch’s Kingbird—are known as “South Texas Specialties.” And spring migration dramatically boosts the number of photogenic subjects that fly your way. By the end of April the summer breeders, such as Painted Buntings, Varied Buntings, and Scissor-tailed Flycatchers have arrived.

The best photography occurs when the animals grow hot and thirsty and flock to water to drink and cool off. Painted Buntings, in particular, really like their baths! This makes late-May and June prime photography time in the South Texas Brush Country.  Read the rest of this entry »

Nature’s View – Top Secrets of Bird Photography, Story and photographs by Jim Clark

What the Pros Don’t Want you to Know

With the professional bird photographers hot on my trail, I’m going to reveal, right now, the top secrets of bird photography. I’m ready to sacrifice myself for the betterment of every one of you who want to photograph birds. All are welcome, but if anyone asks, I had nothing to do with this.

Sincerely,

Jim Clark, uh, I mean Ansel Wolfe Lepp.
P.S. You never heard this from me.

Read the rest of this entry »

Bird Photography at Mono Lake by Marie Read

Wilson's Phalaropes (Phalaropus tricolor) flock at South Tufa, Mono Lake, California, USA

Wilson’s Phalaropes (Phalaropus tricolor) flock at South Tufa, Mono Lake, California, USA

Story and Photographs by Marie Read

Mono Lake is one of California’s most photogenic locations, a well-known destination for landscape photographers worldwide. Bizarre rocky spires called tufa towers punctuate the waters and shoreline of this desert sea, while the snow-capped Sierra Nevada forms a spectacular backdrop to the west. The well-kept secret is that Mono Lake and its surroundings are great for bird photography as well.

Mono Lake’s alkaline, highly saline water supports no fish, but it teems with brine shrimp and alkali flies, providing food for numerous breeding birds, including California Gulls, American Avocets, and Snowy Plovers. Osprey nest atop the tufa, commuting to and from freshwater lakes nearby for fish for their young. Around the lake sagebrush scrub, pinyon-juniper, and conifer-aspen woodlands support many other birds. I’d like to share some of my favorite bird photography spots. Read the rest of this entry »

NATURE’S VIEW: Lessons from the Lake – story and photos © Jim Clark

Part I: Going Beyond F/stops &  Shutter Speeds

“There is no place like springtime in the marsh. I like to just sit back and let it tell me all its stories.”—Karen Hollingsworth

Karen is a fellow NANPA member and nature photographer, and I’ve often repeated her words to my workshop students to emphasize the value of savoring the experience. I have learned that an outstanding image takes more than technical skills. The more you are into the moment, the more your images stand out.

Northern Parula Warbler  (c) Jim Clark

Northern Parula Warbler © Jim Clark

A few weeks ago, I drove to my childhood home in the remote coalfield region of southern West Virginia. Much has changed since I grew up there, but one constant remains: a small mountain lake that has served as my secret location to explore and photograph nature. There is nothing fancy about this lake, but it has provided me with countless hours of enjoyment. Read the rest of this entry »

An Editor’s Perspective: Photography by Benjamin Olson

image

 

Images by Benjamin Olson

Story and Gallery Edit by Miriam Stein

 

This winter proved an exciting time for birdwatchers and wildlife enthusiasts as the cold months in 2013-2014 brought a snowy owl irruption to the United States.  The beautiful birds were seen as far south as Florida and Bermuda.  Benjamin Olson spent a few months following a snowy owl that took up residence near his home in Minnesota.  I greatly appreciate the time and dedication Benjamin showed in tracking this owl and making beautiful photographs without the use of bait, an all-too common practice among owl photographers.  I love the natural blue and white backgrounds of Benjamin’s photographs and the artistic composition he employed in making his images. To see more of Benjamin’s work, visit www.benjamin-olson.com. Read the rest of this entry »

Snowy Owls by Bernie Friel

DSLR
Snowy Owls: In Minnesota in Record Numbers

Text and Photographs by Bernie Friel

Not only is Minnesota experiencing record cold this winter, (an average January daytime temperature of 8º F) but to warm the hearts, if not the bodies of nature photographers (and bird watchers alike), there has been a record migration of snowy owls into the state. While in most years a few may be seen in far northern Minnesota, this year they have been found at more than 250 locations throughout the state. They have also been found into Iowa and as far south as Kansas. The presence in such great numbers of this bird of the Arctic tundra is thought to be a consequence of the crash in the lemming population (sometimes called the tundra potato chip) in their home hunting grounds, causing them to seek food further south.  Read the rest of this entry »

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