“My Approach to Bird Photography” by Ulli Hoeger

“My Approach to Bird Photography”byUlli HoegerSackville Photography Club, October 6 2010Contact: uhoeger@dal.ca

CODE OF ETHICSWelfare of birds and their environment takes priority- Avoid stressing animals or exposing them to danger, exercise restraint andcaution during observation, i.e. photography.- Recordings and other methods of attracting birds can do harm.Use them with knowledge and care, or better not at all.- Keep a safe distance from nests and nesting colonies, roosts, display areas,and important feeding sites.- Do not manipulate nest sites.Respect the law, and the rights of others- Trespassing on property.- Privacy issues (real or perceived).- Legal issues with taking photos of endangered and/or protected wildlife.- Be aware of hunting season.© Ulli Hoeger

#1: Get close! Otherwise you will end up with a hide and seek picture.Ken Nielsen- Cutting distance with focal length ($$$), i.e. getting the birds closer.- > 200 - 300 mm- right lens for the job, no lens for all jobs- Cutting distance by getting closer to the birds.- use a blind or cover, keep a low profile, and move slow- find spots where birds are habituated to human presence- work to get birds used to you (and your camera)In reality both is required.© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 1: Search and Shoot; be quick as long as they stay.Example 1: Fly by shooting – gone with the wind.Snowy OwlNS, IV/2009300 mmf/6.3, 1/1600 sISO 200Spot, A-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 1: Search and Shoot; be quick as long as they stay.Example 2: Now you see me, ….Black-throated Green WarblerNS, VII/2010500 mmf/5, 1/1250 sISO 400Spot, M-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 1: Search and Shoot; be quick as long as they stay.Example 3: I haven’t seen you … yet.Great Blue HeronNS, VII/2010500 mmf/5, 1/800 sISO 200Spot, M-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 2: Be there before they show up.- you can plan your shooting (kind of ….)- you can pick location and time- control background- control light direction- plan composition- you will have to be patient and need some luckKnowing about bird behavior and their whereabouts improves the odds!© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 2: Be there before they show up.Example 1: Lunchtime at the backyard feeder.Yellow-breasted ChatNS, I/2010300 mmf/5.6, 1/1600 sISO 200Spot, M-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 2: Be there before they show up.Example 2: Lunchtime at the backyard feeder.Yellow-breasted ChatNS, I/2010300 mmf/5.6, 1/1600 sISO 200Spot, M-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 2: Be there before they show up.Example 3: Lunchtime at the backyard feeder.Baltimore OrioleNS, I/2010300 mmf/5.6, 1/1000 sISO 200Spot, M-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 2: Be there before they show up.Example 4: House Call at the “Skybox” nest.OspreyNS, IIX/2010500 mmf/6.3, 1/1250 sISO 400Spot, M-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 2: Be there before they show upExample 5: Sheffield Mills Chicken on the Rocks Fly ThroughBald EagleNS, I/2010300 mmf/5.6, 1/2000 sISO 200Spot, M-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 2: Be there before they show upExample 6: A Day on the Beach (rising tide, best time windowis between 1 hour before and 1 hour after high tide)Sanderlings, NS, IV/2009, 300 mm, f/8, 1/200 s, ISO 100, Spot, A-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Approach 2: Be there before they show upExample 7: A Day on the Beach (rising tide)Piping PloverNS, IV/2009420 mmf/8, 1/1800 sISO 100Spot, A-Mode© Ulli Hoeger

#2: Don’t approach the birds, let the birds approach you!Spots to hunt for birds in NS:- Backyard feeders (create a backyard studio)- Local Duck ponds (Sullivans Pond, Bisset Lake …..)- Fast Food Joints- ………Gather local intelligence:- Local naturalist clubs (NS Bird Society)- Field trips- Bird report lists (email, web)Learn about bird behavior and bird identification!© Ulli Hoeger

#3: Master your Equipment; Camera and LensesBird Photography: What is different from taking “normal” pictures?- exposure metering- forget programs- use aperture priority, even better go manual- use spot metering or center-weighted metering on the subject- enable highlight warning in your camera display- focus and focus tracking- long lenses take time and practice to get used to (DOF, shake)- static lens support is an asset (tripod, monopod, beanbag)- single-servo AF works for static (perched*) birds- continuous-servo AF required for everything that moves (*)© Ulli Hoeger

#3: Master your Equipment; Exposure”Successful bird images must be properly exposed so that theydo not look too light or too dark” (Photolife Oct/Nov 2010)How do I determine shutter speed?© Ulli Hoeger

#3: Master your Equipment; ExposureWe all know: Shutter speed, aperture, and ISO are used to control exposure!- pick aperture required to get desired Depth of Field (DOF),e.g. separation of subject from background- find matching ISO/shutter speed combination- shutter speed as fast as desired/required (min. 1/ focal length)- ISO to match, as low as possibleSpot metering 90% of the time, the rest centre-weighted metering.Full manual (M-mode) 90% of the time, the rest in aperture priority (A-mode).- A-mode is useful if lighting changes a lot and rapidly (moving clouds)- M-mode if light conditions are reasonable stableHow do I determine shutter speed?© Ulli Hoeger

#3: Master your Equipment; ExposureHow do I determine shutter speed?If possible spot meter the subject (bird), ormeter on test images (pebbles, leafs) in the anticipated shooting vector.Example: Eagle shoot- blue sky all day- sun in the back all day- same shooting vectorSpot metering to determineshutter/ISO/aperture to beused as long as light is notchanging and eagles show up.f/5.6 1/2500 s ISO 200Look for:- detail preserved in dark parts- detail preserved in light parts(highlight warning to preventclipping of highlights)© Ulli Hoeger

#3: Master your Equipment; ExposureThe Blinkies help to avoid blown highlights!Enable highlight clipping in your display to pushexposure to the limit without loosing details !Here we loose detail in the subject.Subject exposure is OK.EXPOSE TO THE RIGHT: get definition in the dark parts, avoid clipping highlights© Ulli Hoeger

#3: Master your Equipment; ExposureParameters will work as long as there is no significant in light situation,our shift in shooting vectorThe following images were all taken with the same manual exposure settings.Note the varying background conditions that would have very likely fooled thecamera’s automatic exposure evaluation (Aperture priority, Time priority, the variousProgram modes), and resulted in overexposed or underexposed subjects.© Ulli Hoeger

#3: Master your Equipment; ExposureParameters will work as long as there is no significant in light situation,our shift in shooting vectorSheffield MillsNS, I/2010300 mmf/5.6, 1/2000 sISO 200Spot, M-Mode© Ulli Hoeger

#3: Master your Equipment; ExposureParameters will work as long as there is no significant in light situation,our shift in shooting vectorSheffield MillsNS, I/2010300 mmf/5.6, 1/2000 sISO 200Spot, M-Mode© Ulli Hoeger

#3: Master your Equipment; ExposureParameters will work as long as there is no significant in light situation,our shift in shooting vectorSheffield MillsNS, I/2010300 mmf/5.6, 1/2000 sISO 200Spot, M-Mode© Ulli Hoeger

#3: Master your Equipment; ExposureParameters will work as long as there is no significant in light situation,our shift in shooting vectorSheffield MillsNS, I/2010300 mmf/5.6, 1/2000 sISO 200Spot, M-Mode© Ulli Hoeger

#3: Master your Equipment; ExposureParameters will work as long as there is no significant in light situation,our shift in shooting vectorSheffield MillsNS, I/2010300 mmf/5.6, 1/2000 sISO 200Spot, M-Mode© Ulli Hoeger

#3: Master your Equipment; FocusLong lenses require some time to get used to them!- magnification amplifies camera shake (ability for AF to lock on target)- longer focal length = shallow DOF = smaller margin for AF errorsFocal lengthf/22f/5.6f/4.5f/2.850 mmInf.200 m60 m23 m100 mm190 m10 m7.5 m5 m200 mm9.5 m2 m1.8 m1.1 m300 mm4 m1 m0.8 m0.5 m400 mm2.2 m0.5 m0.4 m0.3 m500 mm1.4 m0.3 m0.2 m0.1 mDOF for lens on Nikon D300, focused on subject in 20 mReal life scenarios:300 mm lens @ f/4 focused on a hummingbird 3 m away = 2 cm DOF500 mm lens @ f/4.5 focused on a bird 10 m away = 7 cm DOF© Ulli Hoeger

#3: Master your Equipment; FocusTo get the impression of an in-focus shoot eye/head have to be sharp!Here the focus is a tad in the front on the flower, the image seems out of focusRuby-throated Hummingbird, NS, VII/2010, 300 mm, f/4, 1/2000 s, ISO 200, Spot, M-mode300 mm lens @ f/4 focused on a hummingbird 3 m away = 2 cm DOF© Ulli Hoeger

#3: Master your Equipment; FocusStabilize 300 mm and 500 mm lenses by mounting them on- monopod- beanbag or ground pod- tripodUsing support allows to shoot with shutter speeds slower than 1/focal length(> 1/450 s for 300 mm, > 1/750 s for 500 mm)Even a 500 mm lens can be used with slow shutter speeds if lens and subjectare not moving during exposure.© Ulli Hoeger

#3: Master your Equipment; FocusI use auto focus (AF) 99% of the time:- single-servo AF works for static (perched*) birds- continuous-servo AF required for everything that moves (*),with Single AF sensor field, or 21 field AF on small, fast moving targets3D tracking doesn’t work for me, it does for other photographers* Note that even a perched bird may move out of focus if its perchis moved by wind etc.© Ulli Hoeger

#3: Master your Equipment; FocusFocus on head and eyeBald EagleNS, IX/2010500 mmf/6.3, 1/800 sISO 200Spot, M-Modesingle-servo AF, single AF sensor© Ulli Hoeger

#3: Master your Equipment; FocusFocus on head and eye,Camera followed birdflying by, keeping AFsensor on head and eyeNorthern HarrierNS, I/2010300 mmf/3.5, 1/2500 sISO 200Spot, M-Modecontinuous-servo AF for tracking, single AF sensor© Ulli Hoeger

#3: Master your Equipment; FocusCentral AF sensor waslocked on the tern.As the tern started thedive some of the 20AF sensor surroundingthe central sensor kepttracking the bird.Common TernsNS, VII/2009300 mmf/4, 1/1600 sISO 200Spot, A-Modecontinuous-servo AF for tracking, 21 AF sensors© Ulli Hoeger

#4: What makes a good bird photograph?Things I look to capture in a bird photograph:- action- non-distracting background- perspective, eyelevel if possible- eye contact with the subject or activity in the image- catch light in the eye (a must have for portraits!)Examples illustrate what I aim for …….© Ulli Hoeger

#4: What makes a good bird photograph?Willets, NS, V/2009, 420 mm, f/4, 1/1250 s, ISO 400, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?- action- slight motion blur inwings adds dynamicand illustrates movement- focus on head and eye- catch light in the eye- unobtrusive BG- eye level with birdsWillets, NS, V/2009, 420 mm, f/4, 1/1250 s, ISO 400, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Catch light in the eye = LifeNo catch light = lifeless eyeJust a small change in head angle andposture added catch light and life to theimagePiping Plover, NS, IV/2009, 420 mm, f/5.6, 1/1600 s, ISO 100, Spot, A-mode© Ulli Hoeger

#4: What makes a good bird photograph?Catch light in the eye = Lifeadded interestYellow Warbler, NS, VI/2010, 500 mm, f/6.3, 1/800 s, ISO 200, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Head Angle and Eye ContactIn the following images note how different postures and head angleschange the impact and effect of an image.Even minute differences create much more powerful images!© Ulli Hoeger

#4: What makes a good bird photograph?Head Angle Posture, and Eye ContactAmerican Redstart, NS, VI/2010, 500 mm, f/5, 1/1250 s, ISO 400, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Head Angle and Eye ContactSnowy OwlNS, IV/2009420 mmf/6.3, 1/640 sISO 100Spot, M-ModeSnowy Owl, NS, IV/2009, 420 mm, f/4, 1/640 s, ISO 100, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Head Angle and Eye ContactSnowy OwlNS, IV/2009420 mmf/6.3, 1/640 sISO 100Spot, M-ModeSnowy Owl, NS, IV/2009, 420 mm, f/4, 1/640 s, ISO 100, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Head Angle and Eye ContactSnowy OwlNS, IV/2009420 mmf/6.3, 1/640 sISO 100Spot, M-ModeSnowy Owl, NS, IV/2009, 420 mm, f/4, 1/640 s, ISO 100, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Telling a Story- interaction- unobtrusive BG- eye level with birdsOspreyNS, VII/2010500 mmf/6.3, 1/1600 sISO 200Spot, M-ModeOsprey, NS, VII/2010, 500 mm, f/6.3, 1/1600 s, ISO 200, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Telling a Story- interaction- unobtrusive BG- eye level with birdsOspreyNS, VII/2010500 mmf/6.3, 1/1250 sISO 250Spot, M-ModeOsprey, NS, VII/2009, 500 mm, f/6.3, 1/1250 s, ISO 250, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Why doesn’t this one work?- dead eye- “bird in birds eye view”a bad perspective,Get on eyelevel with yoursubject –not only whenphotographing birds-Greater Yellowlegs, NS, IIX/2010, 500 mm, f/6.3, 1/800 s, ISO 200, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?catch lightLower viewing angleand it would be killer!added interestShort-billed Dowitcher, NS, IIX/2010, 500 mm, f/5.6, 1/800 s, ISO 200, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Shooting on eye-level creates connection with the viewer!Downy Woodpecker, NS, VIII/2010, 300 mm, f/2.8, 1/500 s, ISO 400, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Shooting on eye-level creates connection with the viewer!Downy Woodpecker, NS, VIII/2010, 300 mm, f/2.8, 1/500 s, ISO 400, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Shooting on eye-level creates connection with the viewer!Sanderlings, NS, IV/2009, 420 mm, f/5.6, 1/1000 s, ISO 100, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Shooting on eye-level creates connection with the viewer!Sanderling, NS, IV/2009, 420 mm, f/5.6, 1/1000 s, ISO 100, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Shooting on eye-level creates connection with the viewer!Sanderling, NS, IX/2010, 500 mm, f/4.5, 1/1000 s, ISO 200, Spot, M-mode© Ulli Hoeger

#4: What makes a good bird photograph?Shooting on eye-level creates connection with the viewer!Dunlin, NS, IX/2010, 500 mm, f/4.5, 1/1000 s, ISO 200, Spot, M-mode© Ulli Hoeger

#5: Just Guidelines, not Rules!Eyelevel ?! This one works, even from high up!Shorebirds, NS, IIX/2010, 300 mm, f/8, 1/640 s, ISO 200, Center-weighted, M-mode© Ulli Hoeger

#5: Just Guidelines, not Rules!Focus?! Something is Somewhere in Focus!Shorebirds, NS, IIX/2010, 500 mm, f/10, 1/500 s, ISO 200, Spot, M-mode© Ulli Hoeger

#5: Just Guidelines, not Rules!Focus?! Something, Somewhere!Shorebirds, NS, IIX/2010, 500 mm, f/7.1, 1/500 s, ISO 200, Spot, M-mode© Ulli Hoeger

#5: Just Guidelines, not Rules!Catch-light, eye contact, head angle?!Shorebirds, NS, IIX/2010, 500 mm, f/7.1, 1/500 s, ISO 200, Spot, M-mode© Ulli Hoeger

#5: Just Guidelines, not Rules!Nothing replaces Focal length ? Correct, it depends on the intention.Shorebirds, NS, IX/2009, 16 mm, f/11, 1/320 s, ISO 200, Matrix, M-modeThe only mandatory Requirement for Bird Photography?BIRDS!And we got plenty around us!© Ulli Hoeger