The Portrait is Only the Starting Point

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I’m often asked when photographing wildlife, when do you know you have the shot? This is a question I’ve asked myself for many, many years and the answer is still forming. I do know that the portrait is just the starting point. What does that mean? When you start out in wildlife photography and start out I mean, the first few years or more, the goal is just to get the great portrait. That in itself requires the gear, technical and biological skill to fill the frame with the critter not moving. The critter not moving (which is a portrait) is important because the one thing that has to be sharp is the eye. A moving head makes that very difficult. So the great portrait is where the challenge begins.

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And it’s a challenge that presents itself with each new critter you come across. There are over seven hundred bird species in North American so you could reason out, that’s a minimum of 700 portraits to challenge you. That’s a heck of a challenge, that’s something to be celebrated! But once you have that portrait, then what? Capturing that great portrait is doable by all with any gear. It just takes that one critter who is cooperative and you’ve got it! That means you’ve got to find the photographic challenge in another aspect of wildlife photography. I want to give you your next challenge, biology.

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Now photographing biology can be done while doing the portrait, so it is a natural morph in challenges. I have three examples here of what I’m talking about. Again shooting from the sand as in, lying on the sand like a beached whale I have the D4s / 800mm on the Panning Plate which is my preferred method of shooting shorebirds. This Marbled Godwit, a bird once very common when I was a kid is getting harder and harder to find. Because of that, I went after the portraits first this morning and then moved onto the biology. So the top shot is the portrait, the slight cock of the head takes the portrait and gives it gesture. The biology then comes into play by taking the portrait and adding behavior to it. The middle shot is the “fluff out” after preening. All it takes is being ready for the fluff out after preening (so you know it comes after preening) and then holdin down the shutter release and listening to the sweet sound of the shutter rippin. Then there is the bottom photo which is gyration birds go through while preening. In spreading the oils on their back, they curl their head around on their backs and rub. When they do this, the bill sky points. It’s real brief so you have to know that biology is coming and be prepared for it to capture it. None of this is ease, not being in the right place or owning the right gear and especially is knowing the biology. And that’s why so few go after it. You though can do it, just remember the portrait is only the starting point!

Panning+FPS = The Shot

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Birds in flight is simply a great photographic pastime! It takes gear (D4s / 800mm on the Gitzo 5561SGT w/ Wimberley Head used here) and it can be any body, any lens but you’ve gotta have solid panning. You’ve gotta have the camera set to CH (Continuous High) and willing to hit the button and continue to hit it. And do it over and over again. And then in that sequence recognize this one image that captures that moment for you that you want to share. And that’s it, all it takes to capture that one shot.

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Ever Changing Background

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When it comes to laying on the sand photographing, there is one thing I love above all else. That’s having waves for the background! Here’s a perfect example of why I love it. We’ve got a Double-crested Cormorant for a subject. Let’s just say they aren’t the center fold of bird species. But when you’ve got any subject in this kind of light, you shoot ’em! We had passing puffies which meant there was patchy sun bringing a direction and quantity to the light but it was diffused on the subject. Just look at how the feathers are popping, simply gorgeous light (and the Landscape profile perfect to shoot in). This light also makes the face and eye come to life. So even if the bird isn’t the most photogenic, in this light it’s lookin maaavelous!

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And by laying on the sand shooting, you’re able to make the background a pastel painting by including the surf. Since the cormorant was on the shoreline, this was a no-brainer. What you see in the background here is the crashing surf. By shooting with the D4s / 800mm on the Panning Plate it was possible to incorporate it. Each wave creates a totally different background. No two images as you can see above, is the same. Depending if it’s all crest (white), partial crest (white & green) or no cresting wave (green), you have a different background. Now you have a hint of what it will look like when you’re looking through the viewfinder but you don’t know exactly what you’re going to get. That’s why when the wave begins to come in, I let the camera rip. I then select my favorite later back at the computer. You can see my favorite above and perhaps understand why I love waves for a ever changing background.

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