BIRD PHOTOGRAPHY
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BIRD PHOTOGRAPHY
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Introduction Almost every photographer one day or another feels inclined to specialize in a particular field of photography, be it macro, portraiture, digital imaging etc. Bird photography is one of the most interesting and rewarding of the specialist fields.The first reproduced photograph of the Aves family was taken more than a century ago. It is difficult to say who made the first intentional bird study on film, but a notable pioneer was EJ Marey of France. His camera was most remarkable for that time (mid 1870), because it could make exposures in the region of 1/1500 of a second. (Remember that Niepce’s first photograph was exposed for almost 8 hours back in 1826.) Marey became famous by showing the world for the first time the intricate movements involved in birds’ flight. Although Ottmar Anschütz took a series of pictures of storks in 1884, many people believe that the first intentional photograph of a bird was taken by the Kearton brothers in 1892. The subject was a Song Thrush and they use a 4X5 camera with a 9" rectilinear lens. This shot was taken near Enfield in England. Cherry and Richard Kearton also played a major role in the development of camouflage techniques to approach birds. They went to great lengths to build hides, not only to obscure themselves, but also to appear a part of the natural surroundings. They were also noted for the manner in which they presented their pictures. Not did they only show the bird, but also gave a good view of the surrounding habitat – something that current bird photographers are still striving to do. Cherry Kearton visited South Africa in 1920 to do some pioneering motion work on Dassen Island, where he secured footage of the African Penguin. CAMERAS There are plenty of information available to help you better understand your photographic equipment and its limitations. There is no magic equipment available that will guarantee you a perfect photograph time after time. However, with the equipment and accessories available today, life for the photographer has become a lot easier. If you decide on film, use a good film such as Fujichrome Provia 100F or Velvia and get to know it well. If you are using a digital camera, an SLR is preferred. For best results shoot in RAW mode or highest quality JPEG. SLR’s like the ones made by Nikon and Canon are nowadays preferred by amateurs and professionals alike. Larger formats are not so often encountered - though photographers who are competent enough to make full use of the larger picture area, can produce stunning results. Advantages of the 35mm format above the larger format include:
The focal length of the lens used depends entirely on the type of shots that you are planning. It can range form 135mm to 1000mm and even longer if you use converters. The maximum aperture of the lens should be as large as possible to allow more critical focusing. You should however stop down before clicking the shutter to obtain a better depth-of-field. Stops between f8 and f16 are most often used.
Eric Hosking became famous after he lost his eye during an attack by a tawny owl. If you decide to use flash, you will need at least two units – more or less of the same strength. A third unit may be used to light up the foliage in the background. Having bought your flash units, the next step is to calculate their guide numbers in daylight. Outdoors there are no reflecting surfaces, so you may find that the calculated guide number is often a stop or two lower that that claimed by the manufacturer. The setting up of your equipment is very important. I have found that the following setup renders satisfactory results:The main flash should be about 45° above the optical axis of the camera and 45° to the side. The other flash unit should be on the other side of the camera, close to the camera axis and about one and a half times flash. This should provide the correct lighting ratio and light up the shadows. You can determine the exposure by experimentation or by using a flash meter. Remember to adjust the exposure if you are using extension tubes.
FINDING BIRDS TO PHOTOGRAPH Finding birds is one of the exciting challenges that awaits you. There are three basic techniques, other than photographing a bird at its nest:
You will need a telephoto lens as it is not always feasible to approach too closely. Carrying a tripod may be cumbersome but is almost essential if the focal length of the lens is 500mm or more.
Usually you will need some facility to elevate the hide, as nests are often 2 to 15 meters above the ground. Aluminium scaffolding to construct a tower is most often used. INTRODUCING THE HIDE
NOISE The longer you leave the first shot the more confidence the bird gains; and this often pays off later. By using a camera too soon, the bird can be made nervous for a long time. The first few shots, in fact, are very likely to cause the bird distress. Noise plays a very important part, therefore you have to be very quiet inside the hide and make a blimp for your camera if it's shutter mechanism is particularly noisy. Be especially careful when you use power-winders or motor-drives on your camera. Flash, however, does not seem to worry the birds too much.GARDENING With may nest sites it is often necessary to remove some pieces of growing matter which may obscure a good view of the nest. Compositionally it can be unsatisfactory to have out-of-focus branches and leaves in your photograph. The quickest solution may be to cut off the offending branch. Never do this. Not only does it open up the nest to many potential disasters, but it could easily make the birds abandon the nest. Rather tie back the branch until you’ve got the shot you’re after and then carefully replace it. Avoid showing upside down foliage and the cut ends of branches. Cutting of branches must be done very selectively, never touching the branches that support the nest. When finished, try to restore the site to its original state because camouflage is one of the cardinal aspects of survival of the young in the nest.LAST WORD In most branches of photography there is at least an element of predictability, but in bird photography you often have one and only one chance. Although you may read all the books in the world on BIRD PHOTOGRAPHY and become fully conversant with a bird’s habits and reactions, do not be disappointed if a bird does not react according to the "rules". Remember that birds don’t read the same books and it is this unpredictability that makes photographing birds such an exciting challenge.More reading:
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There is an inherent fault in most telephoto lenses, namely
its inability to focus on objects very close-by. You have to be very close
to a small bird in order to obtain a fairly large image size, but then you
find that your telephoto lens cannot focus that close. This problem can be
overcome by the use of extension tubes or – bellows. However, you pay a
price by a loss of light – sometimes as much as two f-stops. This loss
depends on the amount of extension and the focal length of the lens.
This requires the utmost care and discretion. You must
appreciate that you are introducing something completely foreign to the
bird’s environment. Some birds do not take kindly to such an intrusion,
therefore must it be done very carefully. Start with the hide a long
distance away from the nesting site, moving it gradually closer over a
period of days. If the birds show any discomfort, withdraw it immediately. Avoid nest photography unless the eggs are well incubated.
Don’t attempt any photography whilst the eggs are chipping; also not
when the nestlings are less than 3 days old. Tramping a path to the nest
should also be avoided as this may aid predators in finding the nest.
Always have somebody accompany you when entering the hide and then walk
away. This fools the birds that the hide is unoccupied , although I have
heard of birds that can "count". Be wary of these.