Wildlife Photography Tips: Part 2
Wildlife photography fundamentals
Some questions emerge at every wildlife photography seminar I've hosted. The following are fundamental rules of thumb and techniques that have served me well for decades.
Camouflage is essential. Patterns and colors that blend with the area in which you'll be working are best. Muted solid colors are also effective. I often use a bow hunter's blind at dens or other locations where subjects have been confirmed.
When seeking large mammals, especially predators, I'm in the field at dawn. The first few hours after dawn and the last couple of hours before sunset are prime.
It's best to make the final approach toward skittish birds by crawling. A pie plate bolted to the tripod mount on your camera will allow you to scoot it along the ground. This protects your camera from dirt or sand. Please try to avoid projecting the human profile as much as possible. Sometimes just sitting down creates the the opportunity for animals to come to you. Still hunters do not stalk; they wait patiently in known hotspots.
My cameras are always turned "on" when in the field. They enter sleep mode, but are ready instantly when the shutter is touched. Continuously updating camera settings in the field will improve results. This allows us to always be ready for subjects that may stand still for only a few seconds.
On sunny days with few or no clouds, exposure compensation is set at minus 0.3 to minus 0.7. If there's light cloud cover exposure compensation is set at zero or minus 0.3. At sunrise or just before sunset ISO settings are set higher to maintain adequate shutter speeds Only you can determine necessary shutter speeds based on your experience and technique.
I avoid setting ISO so high that noise becomes objectionable. Each model of camera has its own unique limits. Experiment to find out how high you can set your camera's ISO before noise become objectionable.
For decades, Ive relied on a Manfrotto monopd with a simple trigger controlled height adjustment. The Manfrotto quick release tilt-head completes this exquisite piece of equipment. With practice a monopod provides a rock solid, yet portable foundation.
I use scent suppressants. Please experiment with these products only if accompanied by a professional guide or experienced companion. You may surprise predators.
For insect control I rely on Buzz Off© clothing. I also carry Muskol©, 30% DEET.
Finally and most important: Practice working in one area for a full day or longer. Once you arrive at a location it takes hours, sometimes days for wildlife to return to their routines. You may be astonished at the number of species residing where a cursory look may indicate nothing lives but grass and trees!
Some questions emerge at every wildlife photography seminar I've hosted. The following are fundamental rules of thumb and techniques that have served me well for decades.
Camouflage is essential. Patterns and colors that blend with the area in which you'll be working are best. Muted solid colors are also effective. I often use a bow hunter's blind at dens or other locations where subjects have been confirmed.
When seeking large mammals, especially predators, I'm in the field at dawn. The first few hours after dawn and the last couple of hours before sunset are prime.
It's best to make the final approach toward skittish birds by crawling. A pie plate bolted to the tripod mount on your camera will allow you to scoot it along the ground. This protects your camera from dirt or sand. Please try to avoid projecting the human profile as much as possible. Sometimes just sitting down creates the the opportunity for animals to come to you. Still hunters do not stalk; they wait patiently in known hotspots.
My cameras are always turned "on" when in the field. They enter sleep mode, but are ready instantly when the shutter is touched. Continuously updating camera settings in the field will improve results. This allows us to always be ready for subjects that may stand still for only a few seconds.
On sunny days with few or no clouds, exposure compensation is set at minus 0.3 to minus 0.7. If there's light cloud cover exposure compensation is set at zero or minus 0.3. At sunrise or just before sunset ISO settings are set higher to maintain adequate shutter speeds Only you can determine necessary shutter speeds based on your experience and technique.
I avoid setting ISO so high that noise becomes objectionable. Each model of camera has its own unique limits. Experiment to find out how high you can set your camera's ISO before noise become objectionable.
For decades, Ive relied on a Manfrotto monopd with a simple trigger controlled height adjustment. The Manfrotto quick release tilt-head completes this exquisite piece of equipment. With practice a monopod provides a rock solid, yet portable foundation.
I use scent suppressants. Please experiment with these products only if accompanied by a professional guide or experienced companion. You may surprise predators.
For insect control I rely on Buzz Off© clothing. I also carry Muskol©, 30% DEET.
Finally and most important: Practice working in one area for a full day or longer. Once you arrive at a location it takes hours, sometimes days for wildlife to return to their routines. You may be astonished at the number of species residing where a cursory look may indicate nothing lives but grass and trees!
Eddy bear
Correct exposure settings for digital cameras
Maintaining correct exposure settings while photographing wildlife is challenging. It can be frustrating to the point of discouragement. The dynamic ranges of film and present digital sensors are limited. On sunny days, rarely is the range equal to that of our subjects. For a pleasing balance, it’s necessary to adjust the camera’s exposure compensation.
Remember if you have overexposed areas in your image move exposure compensation to a minus setting. If the image is dark, lacking detail make exposure adjustments to the plus side. Always return exposure compensation to zero before turning the camera off.
I think of my digital camera’s auto-exposure as a light meter. It can only help me move close to the perfect exposure. Fine-tuning necessary to avoid hot spots is based on experience. Shooting in RAW mode will not enable repair of overexposed elements. The camera’s sensor has not recorded information in these areas.
Digital cameras offer the luxury of instant on-screen reviews enabling us to verify correct exposures. Some manufacturers include an optional setting that causes overexposed areas to blink during review. I have a new compact camera that displays a quick review in the electronic viewfinder. Even when shooting 5 frames a second, I can instantly evaluate the series. I use class 10 cards with a write speed of 45 MB per second, to avoid delays.
Spot, center weighted and matrix metering are available in digital cameras. I’m unable to achieve consistent results unless I use one type of metering all the time. I prefer matrix metering. It utilizes an average of every element of the composition. With experience it’s possible to predict the necessary compensation for different lighting.
The ability to preset exposures accurately pays off. A few years ago a cougar began lapping up water on the opposite side of a river. I had only seconds to capture correctly exposed images. I can’t imagine ever having this opportunity again.
Master-photographer, Ansel Adams wrote three books that I strongly recommend. Fundamentals are explained with extraordinary clarity in “The Camera”, “The Negative”, and “The Print”. His experience can be applied seamlessly to digital photography. Key fundamentals of film and digital photography remain the same. Amazon stocks all three, in paperbacks.
In closing, photography is all about light. When possible, I wait for clear or slightly cloudy days. I work during the first 3 hours after sunrise and the last 3 hours before sunset. Struggling on overcast days or with harsh mid-day light is seldom rewarding.
Maintaining correct exposure settings while photographing wildlife is challenging. It can be frustrating to the point of discouragement. The dynamic ranges of film and present digital sensors are limited. On sunny days, rarely is the range equal to that of our subjects. For a pleasing balance, it’s necessary to adjust the camera’s exposure compensation.
Remember if you have overexposed areas in your image move exposure compensation to a minus setting. If the image is dark, lacking detail make exposure adjustments to the plus side. Always return exposure compensation to zero before turning the camera off.
I think of my digital camera’s auto-exposure as a light meter. It can only help me move close to the perfect exposure. Fine-tuning necessary to avoid hot spots is based on experience. Shooting in RAW mode will not enable repair of overexposed elements. The camera’s sensor has not recorded information in these areas.
Digital cameras offer the luxury of instant on-screen reviews enabling us to verify correct exposures. Some manufacturers include an optional setting that causes overexposed areas to blink during review. I have a new compact camera that displays a quick review in the electronic viewfinder. Even when shooting 5 frames a second, I can instantly evaluate the series. I use class 10 cards with a write speed of 45 MB per second, to avoid delays.
Spot, center weighted and matrix metering are available in digital cameras. I’m unable to achieve consistent results unless I use one type of metering all the time. I prefer matrix metering. It utilizes an average of every element of the composition. With experience it’s possible to predict the necessary compensation for different lighting.
The ability to preset exposures accurately pays off. A few years ago a cougar began lapping up water on the opposite side of a river. I had only seconds to capture correctly exposed images. I can’t imagine ever having this opportunity again.
Master-photographer, Ansel Adams wrote three books that I strongly recommend. Fundamentals are explained with extraordinary clarity in “The Camera”, “The Negative”, and “The Print”. His experience can be applied seamlessly to digital photography. Key fundamentals of film and digital photography remain the same. Amazon stocks all three, in paperbacks.
In closing, photography is all about light. When possible, I wait for clear or slightly cloudy days. I work during the first 3 hours after sunrise and the last 3 hours before sunset. Struggling on overcast days or with harsh mid-day light is seldom rewarding.
Improve auto focus on digital cameras
Photographers generally want subjects in sharp focus. This is especially important to wildlife photographers.
When using digital cameras I rely on the center focus area (cross hair). Automatic focusing is done through the exact center line of the lens. This practice really pays off in low light or when using lenses with speeds of F5.6 and slower.
While using the central focus area, 1.4x teleconverters can be added to relatively slow (small aperture) auto focus lenses. Many will retain full auto focus capabilities. I rely exclusively on teleconverters made by the manufacturers of my cameras. Proprietary converters deliver more light to the primary lens when compared to inexpensive converters.
I’ve used the versatile Sigma 50-500 mm F4.5-6.3 lens with 1.4x proprietary converters on Nikon, Konica Minolta (now Sony) and Olympus SLRs. Auto focus performed perfectly, when using the center focus area. I regularly use a 2x converter on my Olympus 50-200mm F2.8-3.5 lens.
Most cameras allow you to select different single focus modes in their menus. I highly recommend the mode enabling simultaneous focus and exposure lock. When pressing and holding the shutter release halfway down, focus and exposure will be locked. Then you can adjust the position of your subject in the viewfinder. When you’re happy with the composition, press the shutter button from the halfway point, all the way down.
You can select a smaller focus area in the menus of some digital cameras. We all struggle when small branches are in front of our subjects. The smaller focus area can “see” through these obstacles and lock onto the subjects behind them.
Whenever possible, I place the focus point on the eyes of my subjects. Auto focus requires distinct contrast. Sometimes more contrast may be found on the beak or breast of a bird. For small birds with muted colors, try focusing on the branch or fence post upon which they’re perched. Remember, hold the shutter release halfway down, adjust the composition and then press the release all the way down.
Please select continuous focus in your camera’s menu when shooting subjects in motion. The center focus area will enable fast, accurate results. There’s another advantage. When fast-moving subjects are centered, accidental cropping is less likely. Extra room around subjects allows for adjustments to compositions during processing.
It’s my hope that you’ll experiment with techniques and equipment. Some full service camera stores will allow you to test teleconverters, before purchase. An extra 40 to 100% reach with your favorite zoom lens offers infinite possibilities!
There is nothing like sharing your appreciation for life, through photography.
Photographers generally want subjects in sharp focus. This is especially important to wildlife photographers.
When using digital cameras I rely on the center focus area (cross hair). Automatic focusing is done through the exact center line of the lens. This practice really pays off in low light or when using lenses with speeds of F5.6 and slower.
While using the central focus area, 1.4x teleconverters can be added to relatively slow (small aperture) auto focus lenses. Many will retain full auto focus capabilities. I rely exclusively on teleconverters made by the manufacturers of my cameras. Proprietary converters deliver more light to the primary lens when compared to inexpensive converters.
I’ve used the versatile Sigma 50-500 mm F4.5-6.3 lens with 1.4x proprietary converters on Nikon, Konica Minolta (now Sony) and Olympus SLRs. Auto focus performed perfectly, when using the center focus area. I regularly use a 2x converter on my Olympus 50-200mm F2.8-3.5 lens.
Most cameras allow you to select different single focus modes in their menus. I highly recommend the mode enabling simultaneous focus and exposure lock. When pressing and holding the shutter release halfway down, focus and exposure will be locked. Then you can adjust the position of your subject in the viewfinder. When you’re happy with the composition, press the shutter button from the halfway point, all the way down.
You can select a smaller focus area in the menus of some digital cameras. We all struggle when small branches are in front of our subjects. The smaller focus area can “see” through these obstacles and lock onto the subjects behind them.
Whenever possible, I place the focus point on the eyes of my subjects. Auto focus requires distinct contrast. Sometimes more contrast may be found on the beak or breast of a bird. For small birds with muted colors, try focusing on the branch or fence post upon which they’re perched. Remember, hold the shutter release halfway down, adjust the composition and then press the release all the way down.
Please select continuous focus in your camera’s menu when shooting subjects in motion. The center focus area will enable fast, accurate results. There’s another advantage. When fast-moving subjects are centered, accidental cropping is less likely. Extra room around subjects allows for adjustments to compositions during processing.
It’s my hope that you’ll experiment with techniques and equipment. Some full service camera stores will allow you to test teleconverters, before purchase. An extra 40 to 100% reach with your favorite zoom lens offers infinite possibilities!
There is nothing like sharing your appreciation for life, through photography.
Fundamentals of digital photography, a review
We appreciate feedback from readers using the contact form on our website. Based on frequent questions, a review of key fundamentals may be timely.
Automatic modes of digital cameras continue to improve dramatically with each new model. However, for results most photographers want, a few settings must be fine-tuned in real time.
Current cameras have sensors with high pixel counts. More pixels deliver greater detail. Pixels are the tiny “eyes” that see shades of dark to light and the colors of our subjects. Your camera’s computer quickly transfers this data -- first to a buffer (cache) then to a memory card.
ISO settings adjust the sensitivity of pixels to light. I consider any setting below ISO 400 to be low sensitivity. Photographs will have little or no noise (graininess).
As we raise the ISO setting to 800 and above, images can be captured in relatively low light. But noise will increase. Sensitive high ASA films had coarse grain and produced prints with similar textures. Noise or grain is not a new issue. It existed with film.
Your camera’s shutter is located between the sensor and lens. Shutter speed is the length of time the shutter is open. More light reaches the sensor with slower shutter speeds.
On a sunny day, 1000th of a second may enable enough light to reach the sensor for high quality images. Indoors (without a flash) the shutter may need to stay open 1/40th of a second to achieve similar results.
If you’re photographing children or pets in low light, 1/40th of a second is too slow. Your subjects will move during the time the shutter is open. Images will be blurred. The solution: add light with a flash or increase ISO (sensitivity of the sensor). Raise the ISO and shutter speeds will increase, eliminating motion blur.
I prefer high ISO settings rather than using a flash. Many current point and shoot cameras deliver stunning images at ISO settings of 1600 and are acceptable to 3200.
Image stabilization increases sharpness in all conditions from ideal to low light. In many cameras, the default setting for image stabilization is “OFF”. I confirm this setting is “ON” at the beginning of every single workday. Discovering a hundred blurry shots at the end of the day is not fun!
With your camera in full auto mode, exposures still need to be fine-tuned. Eliminate over exposed (white areas) by toggling exposure from the default “0” setting to a minus setting. When images are dark, toggle to a plus setting. Your camera’s manual will help locate the controls. How far do I move plus or minus? Experience is the only reliable teacher.
Sharie had only seconds to capture this horned grebe and newly hatched chick. It was just after noon and the light was harsh. Practice and experience will enable you to capture these fleeting moments.
We appreciate feedback from readers using the contact form on our website. Based on frequent questions, a review of key fundamentals may be timely.
Automatic modes of digital cameras continue to improve dramatically with each new model. However, for results most photographers want, a few settings must be fine-tuned in real time.
Current cameras have sensors with high pixel counts. More pixels deliver greater detail. Pixels are the tiny “eyes” that see shades of dark to light and the colors of our subjects. Your camera’s computer quickly transfers this data -- first to a buffer (cache) then to a memory card.
ISO settings adjust the sensitivity of pixels to light. I consider any setting below ISO 400 to be low sensitivity. Photographs will have little or no noise (graininess).
As we raise the ISO setting to 800 and above, images can be captured in relatively low light. But noise will increase. Sensitive high ASA films had coarse grain and produced prints with similar textures. Noise or grain is not a new issue. It existed with film.
Your camera’s shutter is located between the sensor and lens. Shutter speed is the length of time the shutter is open. More light reaches the sensor with slower shutter speeds.
On a sunny day, 1000th of a second may enable enough light to reach the sensor for high quality images. Indoors (without a flash) the shutter may need to stay open 1/40th of a second to achieve similar results.
If you’re photographing children or pets in low light, 1/40th of a second is too slow. Your subjects will move during the time the shutter is open. Images will be blurred. The solution: add light with a flash or increase ISO (sensitivity of the sensor). Raise the ISO and shutter speeds will increase, eliminating motion blur.
I prefer high ISO settings rather than using a flash. Many current point and shoot cameras deliver stunning images at ISO settings of 1600 and are acceptable to 3200.
Image stabilization increases sharpness in all conditions from ideal to low light. In many cameras, the default setting for image stabilization is “OFF”. I confirm this setting is “ON” at the beginning of every single workday. Discovering a hundred blurry shots at the end of the day is not fun!
With your camera in full auto mode, exposures still need to be fine-tuned. Eliminate over exposed (white areas) by toggling exposure from the default “0” setting to a minus setting. When images are dark, toggle to a plus setting. Your camera’s manual will help locate the controls. How far do I move plus or minus? Experience is the only reliable teacher.
Sharie had only seconds to capture this horned grebe and newly hatched chick. It was just after noon and the light was harsh. Practice and experience will enable you to capture these fleeting moments.
horned grebe with chick
In digital photography, content is king
About 15 years ago, an art dealer offered some valuable advice. He said, “David, while the technical qualities of your images are important, content is king. Before sending images to me, I ask clients to consider the following. If you can find a similar published photograph anywhere, don’t bother to send yours.”
It’s my hope to encourage you to make every effort to capture seemingly impossible images. Undesirable weather is often firmly established when the most appealing subjects appear.
Years ago while in Alaska, I spotted two recently weaned grizzlies. They were catching salmon in a shallow stream. I followed these brothers for two days. The rain was relentless.
Grizzly cubs regularly fall prey to predators shortly after being weaned. These youngsters were extremely cautious. It was necessary to stay far away from them.
I was carrying a 500mm lens and a 1.4X tele-converter. The four-thirds sensor in my camera had a 2X crop factor. This combination resulted in the equivalent of a 1400mm lens.
This camera didn’t produce acceptable images above 1000 ISO (digital film speed). With the available light, my maximum shutter speed was only 1/100th of a second! Every rule of thumb suggested this was hopelessly inadequate at 1400mm.
Occasionally the bears lost sight of each other. They cried mournfully while searching for each other. Every reunion was celebrated with a hug. I was so moved by their behavior, shutter speeds would simply have to be ignored. The desire to capture these moments pushed me far out of my comfort zone.
The bears were constantly on the move. I set my camera for 3 exposures per second. One exposure is routinely sharper than the rest in a series. While steadying my camera on a monopod, I shot hundreds of images. When releasing the shutter, I breathed out smoothly. The viewfinder was pressed firmly against my face. Sometimes sitting on the ground improved results. Resting the camera on tree stumps or limbs enabled some successful shots.
I managed to bring home about three dozen sharp images of these brothers. The “bear hug” quickly became the best selling image in our gallery. It continues to hold that position to this day.
The result of not trying is certain. While perseverance added to the dealers good advice, paid off.
About 15 years ago, an art dealer offered some valuable advice. He said, “David, while the technical qualities of your images are important, content is king. Before sending images to me, I ask clients to consider the following. If you can find a similar published photograph anywhere, don’t bother to send yours.”
It’s my hope to encourage you to make every effort to capture seemingly impossible images. Undesirable weather is often firmly established when the most appealing subjects appear.
Years ago while in Alaska, I spotted two recently weaned grizzlies. They were catching salmon in a shallow stream. I followed these brothers for two days. The rain was relentless.
Grizzly cubs regularly fall prey to predators shortly after being weaned. These youngsters were extremely cautious. It was necessary to stay far away from them.
I was carrying a 500mm lens and a 1.4X tele-converter. The four-thirds sensor in my camera had a 2X crop factor. This combination resulted in the equivalent of a 1400mm lens.
This camera didn’t produce acceptable images above 1000 ISO (digital film speed). With the available light, my maximum shutter speed was only 1/100th of a second! Every rule of thumb suggested this was hopelessly inadequate at 1400mm.
Occasionally the bears lost sight of each other. They cried mournfully while searching for each other. Every reunion was celebrated with a hug. I was so moved by their behavior, shutter speeds would simply have to be ignored. The desire to capture these moments pushed me far out of my comfort zone.
The bears were constantly on the move. I set my camera for 3 exposures per second. One exposure is routinely sharper than the rest in a series. While steadying my camera on a monopod, I shot hundreds of images. When releasing the shutter, I breathed out smoothly. The viewfinder was pressed firmly against my face. Sometimes sitting on the ground improved results. Resting the camera on tree stumps or limbs enabled some successful shots.
I managed to bring home about three dozen sharp images of these brothers. The “bear hug” quickly became the best selling image in our gallery. It continues to hold that position to this day.
The result of not trying is certain. While perseverance added to the dealers good advice, paid off.
grizzly brothers, bear hug
Wildlife photographers are uninvited guests
Short visits to most wilderness areas yield limited opportunities for photographers. During longer stays if visitors are quiet and respectful, wildlife may return to their normal routines. Sharie and I think of ourselves as uninvited guests in their home.
This year we decided to work from May through September in Saskatchewan's Last Mountain Lake Wildlife Sanctuary. The best hours for photographing most species are from dawn to 10 AM and 4 PM to sunset. By simplifying our lives, this schedule is not a burden. We recently purchased solar panels to power our basic campsite and essential equipment.
In 2004 Scott Canoe company built a 14 foot canoe for us. We chose earth tones inside and out. The canoe has a 42 inch beam (maximum width) and a relatively flat bottom. Stabilizers with hydrodynamic floats were obtained from sailboatstogo.com. In calm water with stabilizers fully extended, our canoe will not capsize.
Because Sharie and I both have physical handicaps we began using a Minn Kota electric outboard motor on our canoe. This year we depend on two, model C2 Endura motors. If one fails we have a backup onboard. The motor is powered by two 12 volt absorbed glass mat, zero maintenance, deep cycle batteries.
Three 30 watt Coleman moncystalline solar panels are mounted on the center seat. They're connected to the batteries through a Coleman 7 amp digital charge controller. We average 5 to 6 hours of run-time during each outing. After returning to the launch area, batteries always test well above 13 volts/fully charged. The system has been maintenance free.
Note: Survival gear is carried in a floating container, enabling us to camp overnight if necessary. Gear includes widely available Zip brand fire starters and Coghlan's waterproof matches. Lake water was barely above freezing in May.
For our lightweight travel trailer we use two 55 watt Coleman solar kits. These kits include charge controllers and 12 volt to 110 volt inverters. Two 12 volt batteries like those on the canoe complete the system. We placed efficient LCD bulbs in all lighting fixtures. Even during extended overcast periods, this 110 watt solar kit has kept batteries fully charged.
Sharie and I hope that our experiences can help other nature photographers achieve their goals. More opportunities have emerged because we are able to live and work off the grid. We try to leave only a few footprints behind.
Short visits to most wilderness areas yield limited opportunities for photographers. During longer stays if visitors are quiet and respectful, wildlife may return to their normal routines. Sharie and I think of ourselves as uninvited guests in their home.
This year we decided to work from May through September in Saskatchewan's Last Mountain Lake Wildlife Sanctuary. The best hours for photographing most species are from dawn to 10 AM and 4 PM to sunset. By simplifying our lives, this schedule is not a burden. We recently purchased solar panels to power our basic campsite and essential equipment.
In 2004 Scott Canoe company built a 14 foot canoe for us. We chose earth tones inside and out. The canoe has a 42 inch beam (maximum width) and a relatively flat bottom. Stabilizers with hydrodynamic floats were obtained from sailboatstogo.com. In calm water with stabilizers fully extended, our canoe will not capsize.
Because Sharie and I both have physical handicaps we began using a Minn Kota electric outboard motor on our canoe. This year we depend on two, model C2 Endura motors. If one fails we have a backup onboard. The motor is powered by two 12 volt absorbed glass mat, zero maintenance, deep cycle batteries.
Three 30 watt Coleman moncystalline solar panels are mounted on the center seat. They're connected to the batteries through a Coleman 7 amp digital charge controller. We average 5 to 6 hours of run-time during each outing. After returning to the launch area, batteries always test well above 13 volts/fully charged. The system has been maintenance free.
Note: Survival gear is carried in a floating container, enabling us to camp overnight if necessary. Gear includes widely available Zip brand fire starters and Coghlan's waterproof matches. Lake water was barely above freezing in May.
For our lightweight travel trailer we use two 55 watt Coleman solar kits. These kits include charge controllers and 12 volt to 110 volt inverters. Two 12 volt batteries like those on the canoe complete the system. We placed efficient LCD bulbs in all lighting fixtures. Even during extended overcast periods, this 110 watt solar kit has kept batteries fully charged.
Sharie and I hope that our experiences can help other nature photographers achieve their goals. More opportunities have emerged because we are able to live and work off the grid. We try to leave only a few footprints behind.
solar powered canoe and campsite
A California gull visited us every day. Gullybird brought his mate and fledgling to meet us as well. Gullybird often napped peacefully at our campsite.
New technology in digital cameras
Technology in digital cameras have advanced exponentially since 2012.
I’ve always dealt with camera stores like B&H Photo in New York City. Any professional equipment can be returned for a full refund. I started experimenting with digital cameras in the late 90s. Every camera was returned within the trial period. They didn’t produce results even close to film.
In 2004, I finally settled on a digital system. Images were similar to 35mm film quality. Two bodies and lenses to 800mm cost $50,000. Images were awful above 400 ISO (digital film speed). I upgraded to a different system in 2005 that cost about $25,000. Images were similar to 35 mm film up to 800 ISO. The trend of higher quality at lower prices has continued and accelerated.
Today some $600 super zoom cameras will equal or outperform both of the systems above. A new digital camera is obsolete by the time I’m comfortable with it! Sharie and I purchased new cameras early in 2012 and again this year. The most dramatic improvement is performance at high ISO settings. Image quality is maintained at 1600 ISO and beyond.
Every setting in your camera that can be delegated to “automatic” enables a quicker response in the field. For the last two years, we’ve used auto-ISO with the range preset at 100 to 1600. Most of the time, we shoot in program mode. When using auto-ISO in program mode it’s only necessary to make one manual adjustment -- the exposure compensation.
Current cameras also include settings for extending the dynamic range. Software recognizes overexposed areas and compensates automatically. Having the exposure compensation set close to the optimum is often adequate.
If you have a new digital camera, I encourage you to try auto-ISO and dynamic range extension. When seeking wildlife in the field your camera must be “on”. Select power settings enabling sleep mode until you touch the shutter button. If the sky is overcast set exposure compensation at zero. In full sun, set it at minus 2/3. You’ll be ready to react instantly and capture a great image of that illusive subject.
The photo of a California gull's fledgling below was taken with a Canon SX50 HS superzoom, point and shoot digital camera!
Technology in digital cameras have advanced exponentially since 2012.
I’ve always dealt with camera stores like B&H Photo in New York City. Any professional equipment can be returned for a full refund. I started experimenting with digital cameras in the late 90s. Every camera was returned within the trial period. They didn’t produce results even close to film.
In 2004, I finally settled on a digital system. Images were similar to 35mm film quality. Two bodies and lenses to 800mm cost $50,000. Images were awful above 400 ISO (digital film speed). I upgraded to a different system in 2005 that cost about $25,000. Images were similar to 35 mm film up to 800 ISO. The trend of higher quality at lower prices has continued and accelerated.
Today some $600 super zoom cameras will equal or outperform both of the systems above. A new digital camera is obsolete by the time I’m comfortable with it! Sharie and I purchased new cameras early in 2012 and again this year. The most dramatic improvement is performance at high ISO settings. Image quality is maintained at 1600 ISO and beyond.
Every setting in your camera that can be delegated to “automatic” enables a quicker response in the field. For the last two years, we’ve used auto-ISO with the range preset at 100 to 1600. Most of the time, we shoot in program mode. When using auto-ISO in program mode it’s only necessary to make one manual adjustment -- the exposure compensation.
Current cameras also include settings for extending the dynamic range. Software recognizes overexposed areas and compensates automatically. Having the exposure compensation set close to the optimum is often adequate.
If you have a new digital camera, I encourage you to try auto-ISO and dynamic range extension. When seeking wildlife in the field your camera must be “on”. Select power settings enabling sleep mode until you touch the shutter button. If the sky is overcast set exposure compensation at zero. In full sun, set it at minus 2/3. You’ll be ready to react instantly and capture a great image of that illusive subject.
The photo of a California gull's fledgling below was taken with a Canon SX50 HS superzoom, point and shoot digital camera!
juvenile California gull (Gullybird's baby)
Using a blind for wildlife photography;
the advantages of being invisible
Temporary stationary blinds are used by most wildlife photographers. Camouflage vehicles, clothing and scent suppressants are also proven assets.
In 2005, I worked at Saskatchewan’s Chaplin Lake. Permission was obtained to place a blind near a pair of nesting piping plovers. A camouflage bow hunters’ blind was deployed.
Mink and coyotes were seen regularly. Every precaution was taken to avoid leading predators to the nest. I used bow hunters’ scent suppressants when showering and on my clothing. I wore rubber boots. Before walking to the blind I waded into the lake, well into the muck. Consequently, any human scent was also masked by lake water and silt.
The blind was kept between me and the nest while making every approach. Food was never carried into the blind (only water). Photo equipment was set well back from the small opening in the blind. Lenses were never visible. The nesting plovers demonstrated no awareness of my presence. Predators will capitalize on any carelessness. A scrupulously clean sealed container must be used if nature calls.
I was able to capture thousands of images. The series began with the laying of three eggs. It ended as mom led three healthy chicks to waters edge for their first feeding. Sharie and I continue to use this protocol when working from stationary blinds. When set up for lynx, bobcat, cougar and other large mammals, scent suppression is even more important. Routines must include enzymatic breath sprays. A gentle breeze will carry the scent of normal human breath a 100 yards.
Our current blind is a roomy “Ameristep Carnivore Blind”. It has resisted a Saskatchewan plough wind. It can be set up in minutes. We depend on Coghlan’s 12 inch Steel Tent Stakes” for securing ropes and canvass grommets to the ground. When folded up, it can be carried like a back pack.
Sharie and I always carry pepper spray. When using scent suppressants it’s crucial. During the summer of 2007, I photographed nesting ferruginous hawks. A large male cougar approached my blind and peeked through the opening used for my lens. Fortunately after a few irritable cries, he left without incident.
For over a decade our camouflage Jeep TJ was our “blind on wheels”. As long as we didn’t open a door or make noise, TJ was every bit as useful as a stationary blind. Foam rubber water pipe insulation was placed on the top edges of side windows. This provided convenient steady rests for our cameras.
TJ recently went into retirement and currently lives in Ontario. Jasper, a Jeep Compass (North) is our new teammate. Jasper is looking forward to his new camouflage coat.
The colors on our canoe are muted earth tones. With a relatively silent electric motor we can approach wildlife from the water unnoticed. We stop the motor when wildlife is spotted. After gently paddling or drifting to shore or a sandbar, we’re set to take photos. We always wear camouflage clothing. Camouflage life jackets are hard to find. Canadian Tire presently stocks two styles.
During the 2013 season we worked from our blind, solar charged canoe and Jeep. We captured images of over 50 species of birds that we had never photographed before.
New photographers often become discouraged when wildlife vanishes in the blink of an eye. Our suggestions can make a difference. Tactics used by bow hunters are well established and sound. Instead of releasing arrows, we release our shutters!
the advantages of being invisible
Temporary stationary blinds are used by most wildlife photographers. Camouflage vehicles, clothing and scent suppressants are also proven assets.
In 2005, I worked at Saskatchewan’s Chaplin Lake. Permission was obtained to place a blind near a pair of nesting piping plovers. A camouflage bow hunters’ blind was deployed.
Mink and coyotes were seen regularly. Every precaution was taken to avoid leading predators to the nest. I used bow hunters’ scent suppressants when showering and on my clothing. I wore rubber boots. Before walking to the blind I waded into the lake, well into the muck. Consequently, any human scent was also masked by lake water and silt.
The blind was kept between me and the nest while making every approach. Food was never carried into the blind (only water). Photo equipment was set well back from the small opening in the blind. Lenses were never visible. The nesting plovers demonstrated no awareness of my presence. Predators will capitalize on any carelessness. A scrupulously clean sealed container must be used if nature calls.
I was able to capture thousands of images. The series began with the laying of three eggs. It ended as mom led three healthy chicks to waters edge for their first feeding. Sharie and I continue to use this protocol when working from stationary blinds. When set up for lynx, bobcat, cougar and other large mammals, scent suppression is even more important. Routines must include enzymatic breath sprays. A gentle breeze will carry the scent of normal human breath a 100 yards.
Our current blind is a roomy “Ameristep Carnivore Blind”. It has resisted a Saskatchewan plough wind. It can be set up in minutes. We depend on Coghlan’s 12 inch Steel Tent Stakes” for securing ropes and canvass grommets to the ground. When folded up, it can be carried like a back pack.
Sharie and I always carry pepper spray. When using scent suppressants it’s crucial. During the summer of 2007, I photographed nesting ferruginous hawks. A large male cougar approached my blind and peeked through the opening used for my lens. Fortunately after a few irritable cries, he left without incident.
For over a decade our camouflage Jeep TJ was our “blind on wheels”. As long as we didn’t open a door or make noise, TJ was every bit as useful as a stationary blind. Foam rubber water pipe insulation was placed on the top edges of side windows. This provided convenient steady rests for our cameras.
TJ recently went into retirement and currently lives in Ontario. Jasper, a Jeep Compass (North) is our new teammate. Jasper is looking forward to his new camouflage coat.
The colors on our canoe are muted earth tones. With a relatively silent electric motor we can approach wildlife from the water unnoticed. We stop the motor when wildlife is spotted. After gently paddling or drifting to shore or a sandbar, we’re set to take photos. We always wear camouflage clothing. Camouflage life jackets are hard to find. Canadian Tire presently stocks two styles.
During the 2013 season we worked from our blind, solar charged canoe and Jeep. We captured images of over 50 species of birds that we had never photographed before.
New photographers often become discouraged when wildlife vanishes in the blink of an eye. Our suggestions can make a difference. Tactics used by bow hunters are well established and sound. Instead of releasing arrows, we release our shutters!
hunting blinds are perfect for wildlife photography
The mirrorless camera (MILC)
Fast action shots have always been one of the more challenging aspects of photography. Wildlife photographers have needed to practice fervently. Gulls and other shorebirds are willing subjects for thousands of practice shots.
Early in 2004 a friend and I were discussing digital photography. Both of us had been experimenting with early Nikon and Kodak digital SLRs.
One of his musings has stayed with me throughout the bumpy transition to digital cameras. He asked, "When are manufacturers going to design a digital camera from the ground-up? Digital SLRs are built on a platform that’s the equivalent of a Model T Ford.
Our viewfinders still rely on a mirrors slamming up and down! What's with that?” (A detailed description of viewfinders used in SLRs can be found at http://electronics.howstuffworks.com/camera5.htm)
Mirrorless digital cameras are one answer to his question. For some time now, contrast focus used in high quality mirrorless cameras has been remarkably accurate. In fact it’s equal to or better than the “gold standard” of manual focus. Contrast (detail) is detected directly on the camera’s digital sensor. The simplicity of this technology yields previously unattainable, consistent sharpness.
Starting with the first generations, I’ve experimented with MILCs. I was thrilled with the tack-sharp images. But slow focusing and electronic viewfinder lag times forced me back to SLRs. During consecutive exposures, lag times caused images in electronic viewfinders to be delayed when compared to real time views.
For Sharie and I, lag times in current electronic viewfinders are no longer an issue. Cameras have faster onboard image processors and larger memory caches. Write speeds of memory cards continue to increase. Also, the human brain has a remarkable capacity to adapt to some delay. Keeping moving subjects in the viewfinder is no more difficult than it is with SLRs. We instinctively “lead the subjects” appropriately.
Sony’s a7 and a7R Full Frame MILCs were released in 2013. I believe they are the death knell of the SLR. The Fujifilm X series cameras are also breaking new ground. In fact every manufacturer is moving in this direction. The accuracy and speed of autofocus in recent offerings equal or exceed performance of SLRs. Ten years after Fred’s comment, Sharie and I no longer own any SLRs. There’s a concise up to date summary of MILCs here: http://en.wikipedia.org/wiki/Mirrorless
The accompanying image of a pelican’s take-off was captured from our canoe. I had one hand on the electric motor’s tiller. I held a mirrorless digital camera in the other. Capturing the moment was like picking a ripe cherry.
When I was a young man a prevailing view was, “No serious artist would use a 35 mm camera”. Perspective is one of the advantages of old-age.
Fast action shots have always been one of the more challenging aspects of photography. Wildlife photographers have needed to practice fervently. Gulls and other shorebirds are willing subjects for thousands of practice shots.
Early in 2004 a friend and I were discussing digital photography. Both of us had been experimenting with early Nikon and Kodak digital SLRs.
One of his musings has stayed with me throughout the bumpy transition to digital cameras. He asked, "When are manufacturers going to design a digital camera from the ground-up? Digital SLRs are built on a platform that’s the equivalent of a Model T Ford.
Our viewfinders still rely on a mirrors slamming up and down! What's with that?” (A detailed description of viewfinders used in SLRs can be found at http://electronics.howstuffworks.com/camera5.htm)
Mirrorless digital cameras are one answer to his question. For some time now, contrast focus used in high quality mirrorless cameras has been remarkably accurate. In fact it’s equal to or better than the “gold standard” of manual focus. Contrast (detail) is detected directly on the camera’s digital sensor. The simplicity of this technology yields previously unattainable, consistent sharpness.
Starting with the first generations, I’ve experimented with MILCs. I was thrilled with the tack-sharp images. But slow focusing and electronic viewfinder lag times forced me back to SLRs. During consecutive exposures, lag times caused images in electronic viewfinders to be delayed when compared to real time views.
For Sharie and I, lag times in current electronic viewfinders are no longer an issue. Cameras have faster onboard image processors and larger memory caches. Write speeds of memory cards continue to increase. Also, the human brain has a remarkable capacity to adapt to some delay. Keeping moving subjects in the viewfinder is no more difficult than it is with SLRs. We instinctively “lead the subjects” appropriately.
Sony’s a7 and a7R Full Frame MILCs were released in 2013. I believe they are the death knell of the SLR. The Fujifilm X series cameras are also breaking new ground. In fact every manufacturer is moving in this direction. The accuracy and speed of autofocus in recent offerings equal or exceed performance of SLRs. Ten years after Fred’s comment, Sharie and I no longer own any SLRs. There’s a concise up to date summary of MILCs here: http://en.wikipedia.org/wiki/Mirrorless
The accompanying image of a pelican’s take-off was captured from our canoe. I had one hand on the electric motor’s tiller. I held a mirrorless digital camera in the other. Capturing the moment was like picking a ripe cherry.
When I was a young man a prevailing view was, “No serious artist would use a 35 mm camera”. Perspective is one of the advantages of old-age.
American white pelican
Field ready wildlife photographers
Sharie and I have been unable to work in the field for 6 months. We’ve been busy establishing and then moving to our new home.
Let me see, where’s the on/off switch… what’s wrong now… oh, of course, I need a memory card. Every photographer struggles for awhile after taking time off. Record amounts of rainfall this year have resulted in a relative dearth of outdoor activities. Reviewing the essentials of wildlife photography seems timely.
An area in our home is dedicated to maintaining and storing our equipment. A surge protected power bar supplies battery chargers for our still cameras and video camera. We depend on Pearstone® Dual battery chargers. We have 3 batteries for each camera. Two are carried in each of our waterproof Pelican® camera cases. That’s enough reserve power to work from dawn till dusk.
There’s one constant requirement for our frequently updated equipment. Our cameras must have image stabilization. We’re happy with current generations of optical-based or sensor-based stabilization.
In the field our cameras are always “on” but they’re programmed to enter sleep mode after 3 minutes. A touch of the shutter buttons and we’re instantly ready to shoot. Lens caps are removed before our cameras are turned on. They remain in our pockets until cameras are turned off. Time is precious when opportunity knocks.
Our baseline settings in Program Mode are: Centre weighted auto exposure; Continuous auto focus until shutter is pressed half-way; Auto ISO; Shutter continuous 3 frames per second and Exposure compensation minus 2/3 stop. Last Fall a ruffed grouse burst into a clearing. He remained for about 5 seconds before noticing me. These camera settings enabled me to captured a dozen sharp images at 3 frames a second.
If you’re not shooting in RAW mode please turn off all enhancements like sharpening and noise reduction. Noise reduction always sacrifices detail. Sharpening needs to be carefully applied just before printing.
Current digital cameras have low noise levels. Consequently automatic ISO adjustment can be used to maintain fast shutter speeds. Minus 2/3 exposure compensation avoids loss of detail in highlights. When shooting with exposure compensation at zero, highlights on most wildlife are guaranteed to be overexposed even on overcast days. Highlights can not be restored even in RAW files. Exposure compensation can be fine tuned from this default setting as needed.
For still photography, we depend on mono-pods to steady our cameras. Our Manfrotto® 685B Deluxe Monopods with 234RC Tilt Heads can be adjusted for height in seconds. The tilt head enables instant framing of subjects. We carry extra Manfrotto® 200PL camera mounting plates in our Jeep and in our camera cases.
This is our third year to use UV filters on our cameras. They reduce haze and improve overall saturation and detail. Purple banding around high contrast subjects is reduced or eliminated. We both carry a LensPen® for removing smudges or debris. Our lenses have never been cleaner.
With camouflage or earth-tone clothing, extra batteries and memory cards in our pockets, large canteens and some trail mix — we’re ready for the next adventure.
Sharie and I have been unable to work in the field for 6 months. We’ve been busy establishing and then moving to our new home.
Let me see, where’s the on/off switch… what’s wrong now… oh, of course, I need a memory card. Every photographer struggles for awhile after taking time off. Record amounts of rainfall this year have resulted in a relative dearth of outdoor activities. Reviewing the essentials of wildlife photography seems timely.
An area in our home is dedicated to maintaining and storing our equipment. A surge protected power bar supplies battery chargers for our still cameras and video camera. We depend on Pearstone® Dual battery chargers. We have 3 batteries for each camera. Two are carried in each of our waterproof Pelican® camera cases. That’s enough reserve power to work from dawn till dusk.
There’s one constant requirement for our frequently updated equipment. Our cameras must have image stabilization. We’re happy with current generations of optical-based or sensor-based stabilization.
In the field our cameras are always “on” but they’re programmed to enter sleep mode after 3 minutes. A touch of the shutter buttons and we’re instantly ready to shoot. Lens caps are removed before our cameras are turned on. They remain in our pockets until cameras are turned off. Time is precious when opportunity knocks.
Our baseline settings in Program Mode are: Centre weighted auto exposure; Continuous auto focus until shutter is pressed half-way; Auto ISO; Shutter continuous 3 frames per second and Exposure compensation minus 2/3 stop. Last Fall a ruffed grouse burst into a clearing. He remained for about 5 seconds before noticing me. These camera settings enabled me to captured a dozen sharp images at 3 frames a second.
If you’re not shooting in RAW mode please turn off all enhancements like sharpening and noise reduction. Noise reduction always sacrifices detail. Sharpening needs to be carefully applied just before printing.
Current digital cameras have low noise levels. Consequently automatic ISO adjustment can be used to maintain fast shutter speeds. Minus 2/3 exposure compensation avoids loss of detail in highlights. When shooting with exposure compensation at zero, highlights on most wildlife are guaranteed to be overexposed even on overcast days. Highlights can not be restored even in RAW files. Exposure compensation can be fine tuned from this default setting as needed.
For still photography, we depend on mono-pods to steady our cameras. Our Manfrotto® 685B Deluxe Monopods with 234RC Tilt Heads can be adjusted for height in seconds. The tilt head enables instant framing of subjects. We carry extra Manfrotto® 200PL camera mounting plates in our Jeep and in our camera cases.
This is our third year to use UV filters on our cameras. They reduce haze and improve overall saturation and detail. Purple banding around high contrast subjects is reduced or eliminated. We both carry a LensPen® for removing smudges or debris. Our lenses have never been cleaner.
With camouflage or earth-tone clothing, extra batteries and memory cards in our pockets, large canteens and some trail mix — we’re ready for the next adventure.
ruffed grouse
Controlling depth of field in digital photography
When photographing groups of birds, Sharie and I routinely use small apertures. I encourage you to ignore popular theories regarding the detrimental effects of small apertures. For many years I depended on Olympus Four Thirds cameras. Lenses from 7mm to 800mm were utilized. Aperture settings of f11 to f16 were routine. There are dozens of images of the shy piping plover on our website. The majority were captured with an 800mm lens set at f22.
Large apertures (small f-number) produce less depth of field.
Small apertures (larger f-number) produce more depth of field.
Below is an image of three gulls landing in front of Sharie. This image was shot with a small aperture. I focused on the gull in the foreground. He’s sharp and yet apparent sharpness extends past Sharie to the propane tanks.
Imagine my distance from the gull in the foreground, remains the same. Lens focal lengths and apertures required to capture the identical field of view and depth of field are as follows:
Digital Sensor Size Lens Focal Length Aperture
Four Thirds 100mm lens f11
1.5 or 1.6 Crop Factor 125mm lens f14 (averaged for 1.5 and 1.6 sensors)
35mm Full Frame 200mm lens f22
With small apertures simply increase the ISO setting (film speed) to maintain fast shutter speeds. Current cameras perform beautifully at higher ISO settings. Sharie and I prefer Auto ISO with the upper limit set at 1600. We manually sellect 3200 or 6400 ISO when needed. It’s important to determine the acceptable upper limit for your specific camera.
Computer monitors allow us to examine individual pixels. We can view aspects of images that have no effect on the quality of prints. It can be more productive to compare results in physical prints. The choice of photo paper, ink flow and limitations of the human eye come into play.
Comparing proofs to source images on our monitors eliminates speculation. Soon it’s possible to predict results accurately, when viewing images on a monitor. The Epson Artisan 50 is an economical hi-definition printer. This model can often be purchased for about $225. It’s an ink miser compared to any other proofer I’ve used.
Digital photography offers unlimited freedom to experiment. Jump in, the water is fine!
When photographing groups of birds, Sharie and I routinely use small apertures. I encourage you to ignore popular theories regarding the detrimental effects of small apertures. For many years I depended on Olympus Four Thirds cameras. Lenses from 7mm to 800mm were utilized. Aperture settings of f11 to f16 were routine. There are dozens of images of the shy piping plover on our website. The majority were captured with an 800mm lens set at f22.
Large apertures (small f-number) produce less depth of field.
Small apertures (larger f-number) produce more depth of field.
Below is an image of three gulls landing in front of Sharie. This image was shot with a small aperture. I focused on the gull in the foreground. He’s sharp and yet apparent sharpness extends past Sharie to the propane tanks.
Imagine my distance from the gull in the foreground, remains the same. Lens focal lengths and apertures required to capture the identical field of view and depth of field are as follows:
Digital Sensor Size Lens Focal Length Aperture
Four Thirds 100mm lens f11
1.5 or 1.6 Crop Factor 125mm lens f14 (averaged for 1.5 and 1.6 sensors)
35mm Full Frame 200mm lens f22
With small apertures simply increase the ISO setting (film speed) to maintain fast shutter speeds. Current cameras perform beautifully at higher ISO settings. Sharie and I prefer Auto ISO with the upper limit set at 1600. We manually sellect 3200 or 6400 ISO when needed. It’s important to determine the acceptable upper limit for your specific camera.
Computer monitors allow us to examine individual pixels. We can view aspects of images that have no effect on the quality of prints. It can be more productive to compare results in physical prints. The choice of photo paper, ink flow and limitations of the human eye come into play.
Comparing proofs to source images on our monitors eliminates speculation. Soon it’s possible to predict results accurately, when viewing images on a monitor. The Epson Artisan 50 is an economical hi-definition printer. This model can often be purchased for about $225. It’s an ink miser compared to any other proofer I’ve used.
Digital photography offers unlimited freedom to experiment. Jump in, the water is fine!
Gullybird, his mate Mrs. G and Ringo visit with Sharie in late July of 2014.
More photo tips will be added as time allows. David & Sharie Krughoff