Apr 23, 2020 | Wildlife Photography
Allen’s Hummingbird
captured by D5 / 180-400VR
Hummers pretty much around the country are doin that “birds & the bees” thing right now. This is the perfect time to capture photos like this, the males “defending” their feeder. This display is part of a displaced aggression showing visually to other male hummers that he “owns” this feeder. So how did I get the shot?
Out of frame right is a hummingbird feeder, no more than 14 inches away (4:1 sugar water, no food coloring). The perch you see that the hummer is perched on is just a “stick” that is held by a Justin Clamp that is attached to a light stand. I can move that perch around based on the light and the background, the background is a biggie! I have the camera rig (you can use any length lens you have) on a tripod. The camera set to Aperture Priority, matrix metering, and more importantly, the advance set to Continuous High. I have manually prefocused on the branch and then I focus just a titch closer. Then I wait. When the hummer starts to land or starts to take off, the hummer begins to fly. It’s perched and it even hiccups, I hit the hammer. And that’s how I got the shot. It will take a couple of sessions but give it some time because it’s a great time for hummers!
Mar 31, 2020 | Wildlife Photography
Sharp-shinned Hawk
captured by D750 / 300PF / TC-14eIII
While the photo of birds on the feeder can be cool, that’s not truly the goal of backyard bird photography. The goal is the photo of the bird off the bird feeder. Typically, this is the bird waiting its turn to go and feed. This makes the placement of the feeder not as critical as the perch you want to photograph the birds on prior and after their feeder visit. That perch should have a great background and the perfect light for the time of day you can spend shooting. In this case, this Sharp-shinned Hawk is not waiting his turn to feed at the feeder, but rather feed on what’s feeding at the feeder. It is a perfect example of the bird on the perch shot you want to be after.
The formula then is kinda simple. You’re offering the birds food, the feeder. You then offer them shelter in the form of a shrub or bush. Between that shrub (about 7-10′ away) is the perch you want them to land on. It’s a pretty simple formula and once you have it down, you’ll have lots to photograph and fun to be hand in the process!
Mar 24, 2020 | Wildlife Photography
Steller’s Jay
captured D5 / 800f5.6
It’s no real surprise, photographing birds in backyards is really big right now! I’ve been flooded with emails asking for help getting feeders up and birds coming to them so they can be photographed. This is great, I couldn’t be happier. Understand that the “Field of Dreams” doesn’t instantly apply to birds. Just because you put out feeders doesn’t mean birds will instantly appear. It sure can but more realistic is it taking a week or more. I have lots of posts here on the website about backyard photography, got a book or two on the topic as well. The best resource I have to offer up is my KelbyOne Backyard Bird class. If you have specific questions, you too can email via the link on the website. Happy to help any way I can.
On a side note, the perfect lens for backyard bird photography I think is the 500PF. Right now, Bedford Camera has a couple and if you order from them, mention the Moose Discount for special pricing, free shipping and probably no sales tax.
Mar 19, 2020 | Wildlife Photography
Rocky Mtn Bighorn
captured by Z6 / Z24-70f2.8
Bighorn Sheep are much more comfortable when we are below them so their escape route UP a slope is not cut off. This very basic piece of their biology, once you use it you can get incredibly close to sheep. These Rocky Mtn Bighorn are no different. This basic knowledge not only gets you close physically but in the frame, gives sheep a prominence. It’s a win-win for wildlife photographers. But like everything in photography, you can take this knowledge one step further.
Rocky Mtn Bighorn
captured by Z6 / Z24-70f2.8
My primary rig is the D5 / 180-400VR which works great for big game. This group of ewes though didn’t wanna stay off in the distance, they came right down to us which sheep do. I didn’t want to shoot down on them though, not a pleasing angle. So I flipped out the monitor the Z6 / Z24-70f2.8 and slowly, ever so slowly, bent over and shot. You can see the difference between the two photos. Next time then when you’re working with bighorn, remember getting low makes them no only comfortable, but the better photograph!
Mar 10, 2020 | Wildlife Photography
Barred Owl
captured by D5 / 180-400VR
Filling the frame with our critter subjects, it’s a quest for most wildlife photographers. We buy long glass, we go on long trips, we spend long periods of time in the field, all with the quest of filling the frame with eyeballs. But critters actually have gone to great pain to blend into their world, to not be seen. It’s the mystery that in large part grabs our imagination and starts our quest to photograph them in the first place. But once you have that close up photo, do you ever take a step back and take in the critter, and its world? If you have not, it’s disappearing!
Barred Owl
captured by D5 / 180-400VR
The Barred Owl is a big bird, bigger than a football. And like most of its feathered friends, it can completely disappear into its world. Both photos were taken with the spectacular Nikkor 180-400VR of the same individual, the top one was at 180mm fifty feet away and the bottom photo, 400mm at twenty feet away. While the bottom photo would get you the likes on IG, the top one tells the story of the Barred Owl and the world it depends on for survival. If we don’t take the time to share both, we will slowly lose our feathered friends and that thrill of spending time with them in the field. The one thing none of us want to have to ask for real is, where’s Waldo?
Feb 27, 2020 | Wildlife Photography
Boreal Owl
captured by D5 / 180-400VR / TC-14eIII
It was on our last morning at Zax-sim Bog, it was the ninth time in a week we had checked the Admiral Feeders looking for it, not finding it the first eight attempts. The ninth time, literally driving to the airport, we stopped one last time and we finally saw the magical Boreal Owl. The feeders are literally on the side of the road, behind them is the boreal forest of Minnesota. In theory, you literally wouldn’t have to get out of your car to see or photograph the Owl, if he’s there. We drove down the road to see a group they’re doing exactly as we desired, taking in the Boreal Owl. And that was the greatest gift the Boreal Owl gave us, time!
Boreal Owl
captured by D5 / 180-400VR / TC-14eIII
I stood there hand-holding the D5 / 180-400VR (with its 1.4x engaged) and TC-14eIII attached at this little gem in the viewfinder looking at the boreal forest thinking, “How am I going to smack you, the viewer right between the eyes with this little guy AND speak of its world?” See all the textures in the owl’s world, they are very intriguing and visually eye-catching. The Owl is meant to blend into this world. Luckily, the light pattern was slightly to the side which makes all those textures come to life. With the luxury of time the Owl gave us (we stood there in the cold for a few hours), I could decide what was going to make the best light for the story?
Boreal Owl
captured by D5 / 180-400VR / TC-14eIII
I’ve posted just three of the varying light patterns to give you an idea of how time changed the story. I know which I like, which tells the story I want to tell the best, what would you pick? One light, the trees are more in the shadows. In another light, you have more visual depth in the photo and the other, it’s a little flatter. So my whole point is when you have the time to spend with a critter after you have a couple of clicks, don’t say, “I’ve got that photo and move on” but rather say, “With time, how will the light improve my storytelling?”
