Written by Rex Vogel, RVing with Rex explores North America one meaningful place at a time through destination guides, history, slow travel, and thoughtful storytelling. Drawing on years of RV travel and firsthand experience, the site helps readers move beyond simply seeing places to truly experiencing them.
A primer for budding photographers and a refresher for those looking to improve their skills
One of the most fulfilling aspects of traveling in an RV is taking photos, sharing them with friends and family, and reliving your memories. Capturing beautiful and engaging photos is a skill that takes time to master but it’s not hard to learn. Plus, practicing is really fun.
Every photograph tells a story re-creating a three-dimensional scene in two dimensions. This means the entire scene from near to far is made up of objects that relate to each other in terms of their relative size, position, and clarity. The layout of a photo is called the “composition” of the image and it is arguably the most important aspect of photography whether you use a cellphone or a top-of-the-line camera.
With that in mind before whipping out your phone to take a pic pause and think about what you want to emphasize in the image. Larger objects dominate the composition. So, if you are taking a photo of a person, a close-up that fills the picture is all about the person and not about the place where they are located. In contrast, an image with tiny figures in a vast landscape is all about the setting; the people are accents.
By the same token, you also can highlight either the people in a scene or the landscape around them if they face toward or away from the camera. We are instinctively drawn to the eyes and facial expressions of people looking at us. So, if you want to emphasize the people, have them face the camera. If you want to draw the viewer into the landscape, have them turn away from the camera, looking at the vista. This encourages the viewer to look at the landscape along with them.
The relative proportions of the objects in a photo also accentuate the subject. If you are witnessing a stunning sunset where the sky appears to be on fire, most of the image should feature the colorful sky. If you find a dazzling field of wildflowers that seems to go from horizon to horizon, fill the image with flowers. You can anchor the location with something iconic to the region, like cacti or mountains.
Capturing the majesty and immensity of America’s best national park landscapes can be challenging. Looking out across the layers of rocky ramparts that make up the Grand Canyon or staring down into the fairytale turrets of Bryce Canyon takes your breath away. However, it’s difficult to come away with photos that are as dramatic as what you saw.
Sometimes simply adding a measurable object in the scene—a person, animal, or tree, for instance—can give the viewer a way to quantify the size of the surrounding landscape. A tiny figure walking between massive rock formations or standing atop a towering precipice emphasizes the enormity of the scene in relation to the person.
Another way to draw the viewer into a scene is by using “leading lines” especially diagonals and curves. Set up the shot so the diagonal lines come out of the lower corners of the image and head toward the main subject. These lines are easier to spot in a two-dimensional photo than in our three-dimensional world.
However, the edge of a road or lane lines painted on a road are an easy place to see them. Curvy roads make great leading lines, too. A winding road or trail leading to something alluring makes a great shot. We read from left to right so positioning the diagonals to come in from the lower left corner catches our eyes and we follow those lines into the center of the image.
Positioning the subject slightly off-center in the image can also add some spice. The “rule of thirds” suggests you place the major components of the image one-third and/or two-thirds of the way across the photo vertically and/or horizontally. This is not a hard-and-fast rule, however, and I find that just shifting the subject slightly off of center can make a huge difference.
Similarly, a subject can be framed in an image by shooting through a window, under an arch, or between two trees. Framing one object between two others results in three primary things in the image and often a great balance or “tension” in a photo is achieved by the triangle that is formed between them.
Applying these concepts takes practice. One of the best ways to improve your skills is to study the work of great photographers. Many excellent photo galleries can be found online. For example, search for “best online photography galleries.”
Another way to practice composition is to take photos from the passenger’s seat as another person drives. This works best in national and state parks and along country roads.
The most dramatic natural colors occur at sunrise and sunset. It is worthwhile to continue taking photos after the sun has risen and to begin taking photos an hour before the sun goes down as the landscape is bathed in a golden glow with deep shadows at these times. The exact same photo shot at noon will be far more appealing when it’s taken during either of these “golden hours.”
Early morning is also a time when the air is still allowing for beautiful reflection photos at lakes and ponds because the water is like a mirror. Delicate wildflowers stop wiggling, too. Another huge reward for climbing out of bed before you really want to is that animals are active at dawn. Thus, it’s a great time for wildlife photography.
You can lure hummingbirds to your campsite by hanging a suction-cup-mounted hummingbird feeder on your RV window and then shoot through the window from inside. Other critters and small birds will stop by if you place a shallow dish of water on the ground away from your RV where they feel safe. Many chipmunks in campgrounds are experienced beggars and may treat you to great photo ops when they stop by for a drink.
Above all, have fun taking pics. Photography is a rewarding lifelong endeavor, and an ideal hobby to accompany your RV travels.
Here are a few great articles to help you do just that:
Are you ready? New birds will be arriving at favorite local birding hotspots as well as the feeders in your campsite.
With another spring season of bird photography opportunities ahead, I’ll revisit what I consider to be the basics of bird photography. I wish someone had offered such a list to me when I bought my first SLR camera and zoom lens. I’ve created this list using my experience along with tips from professionals and others I gleaned by reading extensively. I hope this information will give you a good introduction or a helpful review of all the things you can do to improve your chances of getting quality bird photos this spring.
Not every tip listed below in short, concise form will be useful to every photographer but everyone will be able to glean some pointers. I hope the list also offers a bit of inspiration and enthusiasm throughout spring migration and beyond. Many of these methods become second nature with time like making sure the sun is behind you as you focus your lens on birds and holding your breath when you press the shutter button.
This list will help make you a better bird photographer and add a new level of enthusiasm with renewed production from your camera and lens.
I keep my camera within reach at all times. I never want to say: “I wish I had my camera!”
Quality photos require good light. For optimum lighting, make every effort to position youself between the sun and the bird with your shadow pointing at the subject.
The best time to photograph is when the sun is at a 30- to 60-degree angle above the ground—during morning an hour after sunrise and again during late afternoon until an hour before sunset. This practice will provide more direct lighting for bird photography while eliminating most shadows. Avoid photographing during midday when the sun is overhead or mostly overhead.
Be aware of shadows on the bird you are photographing caused by the overhead angle of the sun or when you’re not in the best position concerning the direction of the sunlight. In the field, you often don’t notice a shadow but because shadows are more obvious in photos it’s good to watch specifically for shadows and adjust your position to avoid them when possible.
If you try to approach a bird, keep a low profile, move slowly and don’t walk directly at the bird; move at an angle to the bird that gets you ever closer. If necessary slowly zig-zag from side to side as you move ever closer while keeping the sun at your back.
Don’t get too close to birds; allow them to behave naturally. When you stop short of making birds fly they may move closer in your direction.
Anticipate the next move of the birds you are photographing and be prepared to react to that fast action.
Focus on one eye of the bird to be sure your focal point is centered on the bird. If the bird’s eye is not in focus, your photograph will suffer overall.
Hold your breath when you press the shutter button to help eliminate body motion.
Lightly squeeze your finger down on the shutter release button to reduce any jerky motion on the camera as you take photos.
When photographing birds, stabilize your camera and lens as best you can to reduce body shakes that can be transferred as you hold your camera. (Body shake includes your beating heart and natural internal movements.)
To brace your camera, lean your lens against a tree, post, window frame, or another stable option. When photographing in the open, you can brace your elbows against your chest or sides to provide more stability as you handhold your camera and lens (rather than holding your elbows out to the sides).
Some birders use a tripod to help stabilize their camera and lens but for many of us using a tripod is cumbersome, especially when photographing flying birds. Dealing with a tripod, frankly, takes much of the fun out of bird photography, at least for me. If you use a tripod, select one with thick strong lower legs and you should also use a shutter release cable—that’s no fun either.
Don’t use the automatic setting on your camera. Instead, it’s best to set the Mode Dial to Av (aperture priority); then set your aperture (f-stop) and the camera will automatically provide the associated shutter speed as determined by the amount of available light.
Preset your camera so you are ready to take a photo at a moment’s notice which happens fairly often when photographing birds. When I’m in position to photograph and have an extra moment I double-check the settings and adjust any if needed. During sunny days, I preset the ISO to 400, use an aperture of f8 and the resulting shutter speed will usually be between 1/1200 to 1/2000—fast enough to stop most motion.
Personally, I find the 400 ISO setting to be the best under good sunlight conditions.During low light periods or if the sun goes behind a cloud, I increase the ISO to 800 if the shutter speed is reduced significantly by the shaded sunlight.
I keep my camera’s Al-Servo set so I can take a continuous series of photos. Using this setting it’s possible to take a single photo but you can also take two or three at a time if you hold the shutter button down a moment longer. And when a bird is especially active you can hold the shutter release button down for the camera to take a continuous series of images at a rate of three to 10 photos or more per second depending on your camera model.
Try not to center a bird in the middle of the photo; leave a little more space in front of the bird for it to “look into, walk into, swim into, or fly into.”
To better understand how to position a bird within your photo frame, consider the rule of thirds which artists often use when composing their artwork. Photographers also use this technique for photo framing and design although it’s just a guide to be aware of when composing photos.
Be aware of the background of your photo. Try to eliminate distracting twigs and grass from view which may simply be a matter of moving your camera to the right or left or taking a step right or left to get a clearer background that will be less distracting. However, in some cases a twig with budding leaves or other vegetation can add a natural element to a bird photograph.
Getting a more uniform background can be accomplished with some success by reducing the area in focus (depth of field) to throw the background out of focus. This blurred background effect helps to emphasize your subject and is accomplished by setting your aperture to a narrow f4 or f5. That aperture should keep your bird in focus while blurring the background although this technique works best if there is ample space between the bird and the background elements.
Using a narrow f4 or f5 aperture also provides a faster corresponding shutter speed which is helpful in stopping any motion and creating sharp images. Adjust your ISO if necessary.
Stabilize your lens by holding it on the top of a slightly raised window or against the side or top of the window frame to reduce body shake that may be transferred as you hold your camera.
As mentioned earlier, hold your breath any time you press the shutter button to reduce any bodily vibrations and press the shutter button lightly to avoid a jerking motion.
Stay inside your vehicle and reduce any motions to make birds less wary. While birds often accept a parked vehicle, that changes if you open a door or get outside.
When you see a promising photo op be especially aware of any vehicles driving behind you and keep safety your first priority. You may need to drive by a bird, find a safe place to pull over, and return to the bird’s location to try for a photo op. Pull safely off the side of the road in the best possible position to photograph your subject with respect to the direction of the sunlight. Keep safety a priority, as always.
When using photo editing software, alter the photo as little as possible. Simple cropping of an image can improve a photo by increasing the size of the bird within a photo frame or by cutting out extraneous parts of the background—effectively zooming in on the bird.
Try to keep up with your photo review and editing process which is best performed as soon as possible after each photo session. Keep your photo files orderly, organized, and easy to access.
Use a uniform naming system—perhaps one that identifies a bird in a photograph by its location or name along with the year and month the photo was taken. An example of my naming system is: AZ, Catalina SP_2023_03.
Keep at least two copies of all your photos and preferably keep them in different locations to ensure you never lose any of your valuable photos due to a computer crash or damage by fire, flood, or theft. I keep my photos on my laptop for easy access and on external hard drives.
When photographing birds, there is always a definite luck factor. Good Luck!
I provide a variety of tips and techniques on an occasional basis usually mixed into narratives describing photo opportunities but here you have an easy to refer to reference list.
Have fun, get excited, display your favorite photos, and share your photos with others—it’s all part of the joy of photographing birds. Enjoy this spring season!
Taking your wildlife photography to the next level
Spring is on the horizon and although wildlife photography can be a year-round activity, I’m excited for the warmer weather, blooming flora, and lots of critters being up and active. We’re gathering our cameras, lenses, and other photo gear and itching to get outdoors.
Yet, no matter the season, I am always excited to grab a long lens and explore nature and hopefully come away with some bird and wildlife photos. As I’ve said before, I’m not a professional photographer by any means. However, I certainly put myself in the enthusiast category and I’ve been photographing wildlife for many years.
Wildlife photography is more than just having a camera and pointing it at an animal. There are tips and techniques, both in terms of composition and gear that can help make wildlife photography easier and hopefully help you be more successful in capturing great photos of birds, critters, and other animals.
Below is a list of important tips and techniques for birding and wildlife photography that I’ve learned over the years and try to keep in mind whenever I’m out photographing birds and other animals. Keep in mind that this list of tips is by no means exhaustive but it does cover some important guidelines and suggestions for gear selection and shooting techniques as well as artistic and creative tips for improving your wildlife and bird photos.
This first tip is, perhaps, a somewhat obvious one, especially if you’re already familiar with birding and wildlife photography but one key piece of photo gear for a good wildlife photography experience is a long, telephoto lens. There isn’t one particular focal length that works best for all situations; however, I’ve found that a solid starting point is a focal length of 400mm.
Depending on your camera system, the options for a 400mm telephoto lens can vary quite a bit but be aware that supertelephoto lenses can often be expensive. You also have the option for a prime lens or a zoom.
In most cases a zoom lens is a great choice that gives you some versatility. A fantastic choice for a great wildlife-centric telephoto zoom is a 100-400mm-style zoom or a 150-600mm zoom. Several manufacturers make these types of lenses at both affordable and high-end price points. Some options may make optical comprises to some extent in order to make such a long-zoom lens reasonable lightweight and usable handheld so you’ll need to weigh what type of budget you’re comfortable with and what kind of image quality performance you’re looking for.
Use a tripod or monopod
Since many full-frame format supertelephoto lenses are large and heavy, consider using a tripod or monopod or some form of support. Many of these lenses can hit in the 6, 7, or 8-pound range which can get very tiring to use handheld for any length of time. And birding and wildlife photography takes patience.
Tired arms and general soreness means less steady hand-holding resulting in missed shots, blurriness, or missed focus, and just generally less enthusiasm to keep shooting. A good monopod or tripod can help get you sharper shots and keep you shooting for longer.
Use fast shutter speeds
Be aware of your shutter speed, and in particular, use a faster shutter speed for sharper photos especially for birds in flight. The traditional rule of thumb has been using a shutter speed of “1 / the focal length” (in terms of a 35mm full-frame camera). For example, if you’re using a 400mm lens on a full-frame camera, a good starting point is 1/400ths of a second in order to avoid blurring from camera shake. However, that means the longer the lens, the faster the shutter speed needs to be. For birds-in-flight, however, a good starting point here is at least 1/1000s, but I’d recommend shooting with even faster speeds, such as 1/2000th of a second. But 1/1000th of a second at the minimum for birds in flight is a good starting point.
With a telephoto lens, you are able to bring faraway subjects closer and one of the best creative benefits to such a lens is the ability to isolate your subject and create smooth, blurry backgrounds. The ability to remove distractions is one of the great benefits to a telephoto lens. Be mindful of objects in the background. When photographing perched birds in trees pay attention to leaves, tree branches, and other objects that are positioned behind your subject.
Get creative with your shooting angles
When photographing birds, you’ll likely find yourself pointing upward into the trees. While this can work and make for some interesting images, you’ll often end up photographing the underside of the animal which might not be the most attractive pose or position or you may have to contend with your subject being heavily backlit with a bright sky.
If possible, try to position yourself at a different elevation or more at the same level as your subject. As you might expect, this is easier when photographing ground-based animals as you can more easily get down to a lower position and more at their level. For birds up in trees, this can be a difficult task depending on your location and surroundings.
Getting level with birds is more easily accomplished when photographing near bird feeders or if you’re fortunate to find yourself in a location with elevated walkways or trails that put you more up into the trees. For shorebirds, water birds, or other ground birds, again, the key is to go low and close to eye level.
When possible, position yourself so that the sun is behind you and illuminating your subject. You don’t want to be photographing a bird or other animal with the sun behind it as it will likely be harshly backlit and underexposed. With the sun illuminating your subject you’re able to capture the beautiful colors and the sharp detail in fur or feathers of your subject.
Consider the time of day when photographing birds in flight. Much like the golden hours rule for landscape photography, these are also ideal lighting conditions for photographing birds in flight. Light is softer, has a warming glow, and properly illuminates the bird. If the sun is too high in the sky, the underside of the bird will likely be in shadow.
Research your shooting locations
Research your location before you go. You’ll be more comfortable and aware of your surroundings and you’ll have already scouted some good locations for wildlife and be prepped to set up shop and wait for photo opportunities.
State and national parks, national wildlife refuges, and nature preserves are prime locations for birds and other wildlife and are conducive to photography. They often provide bird blinds and feeding stations which are ideal for observation and photography.
Birds and wildlife are unpredictable and they won’t often land or appear right where you want them. But that’s part of the fun of this type of photo subject, the unpredictability of it all. However, wildlife photography takes patience. Traipsing through the woods will alert most animals to your presence and so you’ll want to get into a good spot and then wait, quietly. Eventually, the birds and animals will likely start to ignore you or become okay with your presence, so long as you’re calm and quiet.
Along the same lines as being patient, it’s also important to be diligent and observe your subject once you’ve spotted it. Don’t just snap a single frame and call it a day. Watch for interesting behavior or certain poses that can bring the subject to life and show some of its personality.
Worth Pondering…
Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.
In bird photography, the camera should have a fast frame rate to capture the fleeting moments of birds
Photographing birds often encourages us to spend more time with them, study the birds closer, and appreciate the importance of watching and waiting to see what might happen next—or what different birds might slip into view. Photographing birds make birding more enjoyable in the field—and as you review and edit photos after your close encounters of an avian kind.
Capturing great bird photographs has its own set of challenges. Many beginners wanting to try their hand in bird photography may have a perception that they need to buy an expensive camera and lenses to match. While it is true that the top-of-the-line cameras and premium lenses produce superior results in challenging conditions, still don’t expect it to be the end-all-be-all. And a lens alone can set you back over $10,000.
For successfully photographing wild birds in the wild, you need a camera, a long focal length lens, and a good tripod. Once you are confident about handling your camera and lens, you may wish to use them free-hand. But in the beginning, a tripod can benefit your photography especially with the composition and low-light situations.
If you feel carrying a tripod around is too cumbersome, you can also try handheld photography. But you need to maintain optimal body stability and posture to minimize the associated camera shake. Another option is to carry a monopod which would give you excellent results.
Personally, I have not used a tripod for 99.9 percent of the pictures that I have taken. They are not perfect but are reasonably sharp and focused. This is because I have developed hand and body posture stability through years of experience and practice.
There are a few things to remember about the camera requirements when aiming for bird photography. The camera should have a fast frame rate to capture the fleeting moments of birds. Anything upward of 8 frames per second is good.
With few exceptions, most common birds move around quickly. Their pictures can be blurry by the subject movement if the shutter speed is not high. A 1/2000 of a second shutter speed is a safe starting point. A camera with good ISO performance can achieve that. So aim for the one giving low noise results at ISO 1600–3200 range.
When considering the sensor resolution in megapixels, most cameras now offer plenty. A high megapixel count is beneficial when you want to crop the picture in post-processing. Look for cameras with more than 15-megapixels. Be mindful that large megapixel cameras produce large image files. You will need a powerful computer to process those images. A camera with an inbuilt GPS is an option to consider. GPS enables the camera to tag the location where each photo is taken. It also sets the time automatically.
Keep in mind that a camera is only one of the ingredients of photography. To make your photo stand out, you need good soft light. Soft ambient light conditions are available when most birds are active, mornings and evenings. So be prepared to wake up early.
The next ingredient in the recipe is a long focal lens. Wild birds can be very skittish and are hard to approach. A lens of at least 400mm focal length is a good start. That way you also have the flexibility to approach the birds from a reasonably good distance.
Usually, when we have smaller focal length lenses we tend to go overboard and approach the bird too close for their comfort. You don’t need to spend a fortune to buy a prime wide aperture lens. Most camera manufacturers offer budget options in the popular focus length ranges.
Shooting technique becomes paramount in the field. By carefully selecting the shooting angle, it’s possible to separate the bird from the cluttering background. You can try to move slowly to find the best possible background. I have observed that abrupt lateral movements alert the birds to take off immediately. Thus, a patient and calm approach is necessary to obtain the best results under the given conditions.
A background blur can be created even with narrow aperture lenses. A word of caution here; you don’t want to stress a bird or an animal in the process of getting your best photo. If the bird or animal shows any sign of discomfort, back-off or leave the area.
Even with a good camera and a lens, an incorrect exposure can ruin the picture.
Mirrorless technology is the latest in advanced cameras. You can also try these models as they are light to carry and offer great results and quality.
Take advantage of the photo surprises that unfold, and be prepared for the next rare, unusual, or profound bird you get to see—and document it with photographs.
Tall wading birds—herons, egrets, bitterns, ibis, spoonbills, storks, and cranes—are among the most popular birds for birders and photographers—and for everyone. They are large and fairly obvious attracting our attention wherever we encounter them. They have long necks, long legs, long bills, long wings, and in-flight wading birds are most impressive—singularly and in flocks.
As photographers, we are always hopeful of photographing wading birds to show their majesty, to document them catching prey, and to show them in the throes of mating displays in advance of the nesting season.
As winter melts into spring along the shallows of wetlands adjacent to the warmer areas of the Atlantic, Gulf, and Pacific coasts, bright colors are flushing bare skin on the face of many species of wading birds with deeper colors accenting their legs and bill while some species grow feather plumes on their head, throat, back, or breast, providing ever-more impressive birds to photograph. As spring progresses, the wading bird progression will anchor the migration north with camera-toting birders intercepting their flight paths and stopover sites.
Wading birds are large, they are impressive, and they provide a variety of photo opportunities. Wading birds are among the first birds we hope to photograph—great blue herons, tricolored herons, great egrets, sandhill cranes—and we eventually seek out wood storks, roseate spoonbills, and yellow-crowned night herons—then we try to photograph all the wading birds. So we make it a point to seek them out, visit locations where we hope to find them, and marvel as we photograph each one.
Because many wading birds are among the largest birds we encounter, they are a good group to start with as beginning photographers, but ultimately, we never get enough photos of wading birds. There are always more opportunities in different settings under different lighting conditions with the birds engaged in an array of activities. Wading birds as a group are just plain exciting to behold and to photograph.
Locations: Wading birds are usually associated with water—the shorelines of shallow ponds and marshes, tidal flats, and lakeshores—these are the primary habitats to visit regularly to photograph wading birds.
Timing: Pick the time of your visits for the best possible lighting—mornings before 11:00 and afternoons after 2:00 are best now. As the spring season progresses and we adjust to the daylight savings change of time, we will need to adjust the periods we devote to photography.
Sunlight: The need for good sunlight originating from behind you is essential to capture the best colors on all wading birds and that’s especially true with birds that have any iridescent plumage. In addition to providing more vivid colors, sunlight provides more contrast between colors and shades of colors too.
Shadows: Since sunlight also produces shadows, be aware of shadows on one side of the bird. After taking an initial photo, you may want to move to avoid shadowing. I also like to refer to my own shadow when positioning myself, so try to position directly between the bird and the sun—that’s when my shadow is pointing directly at the bird.
Overcast Conditions: When overcast it’s best to re-schedule for a sunny period. The quality of any resulting photos will have muted colors, low contrast, and dull surroundings. Any photos you take will be subpar.
Water Reflections: Blue sky sunlight produces blue-colored water which provides a great setting for wading birds. At the same time, wading birds are the prime interest and whether the watercolor is blue, green, brown, or gray is less important. Water has unlimited variations produced by calm or variations of windy conditions, water flows, or waves. While you are focusing on the bird be aware of the water and its movements for enhanced photo quality. At times, when the water is calm, you may be able to take photos with the bird reflected in the water in front of it.
Vegetation: Be aware of the background and foreground. Plants in your setting can be a welcome addition to add some contrasting green, yellow, or tan coloration while showing the bit of habitat. In some cases, plants may not be welcome if they hide parts of the bird in a distracting manner. If necessary, reposition to get a better background after taking a couple of initial photos. Or you may be able to simply wait for the bird to move to a better location. As with any composition, take the photos you can and try to improve on them if possible.
Positioning: When photographing wading birds, take some images from a low position—kneeling, squatting, sitting, or lying on the ground—to get closer to water level or ground level and thereby closer to the level of the bird.
Stabilizing: Stabilize yourself while holding your camera by bracing your elbows against your chest when standing or bracing one elbow against a knee while kneeling. Bracing your lens against a tree, pole, fence, or car window will help too. Hold your breath when pressing the shutter button to help stabilize your camera and lens.
Action: Take several initial photos, then wait to see what happens next—wait for the action. Perhaps the bird will try to catch a fish; perhaps it will take a few steps as it hunts providing another angle to photograph, or maybe it will decide to take a flight to reposition to a new hunting area. Spend ample time with each photo subject and you will often be rewarded with another, possibly better photo opportunity. Also try to anticipate the birds’ next moves, rather than react to their movements a step behind the action. Action photos are always the most interesting and most revealing.
Flight Photos: Your best bet for getting multiple opportunities to photograph wading birds in flight will come when you can find a flight path the birds follow between feeding areas and nest sites. Then it’s a matter of spending some time in position and watching for birds you can focus on and follow through your lens, taking multiple photographs of each bird in flight if possible.
Best Approach: Avoid alarming a bird as you approach it, especially if it is feeding—the bird always comes first. Keeping your distance and allowing birds to behave naturally will provide the best photo opportunities. If you try to approach a bird, move slowly and don’t walk directly at the bird; instead, move at an angle to the bird that gets you ever-closer.
Cropping: When reviewing your photos some simple cropping can improve the quality of your final images. A simple crop to remove extraneous background area will enlarge the bird within the photo frame. It’s best not to center your subject in the frame. Instead, leave some space in front of the bird (consider the Rule of Thirds).
March and April provide a great time to photograph wading birds as many species migrate north. The weeks ahead should provide a variety of species for you to photograph. Waders are most active during May and June as they begin nest-building at rookeries and the variety of wading birds should keep your attention through the summer months. There’s a great wading bird photo season ahead, so embrace this exceptional group of photo subjects as often as you can, and Good Luck!
A wonderful bird is the pelican His bill will hold more than his belican. He can take in his beak Food enough for a week, But I’m damned if I see how the helican.
Take advantage of the photo surprises that unfold, and be prepared for the next rare, unusual, or profound bird you get to see—and document it with photographs
There are many elements that go into a given photo. The position of the bird or birds, the location of the sun in the sky; positioning yourself between the bird and sun; composing your photos with respect to the surrounding landscape, and the technical aspects of using your camera and lens.
With time, many of these elements become second nature and there are also a number of things you can prepare in advance of encountering the next bird. There are a host of things to consider while photographing and a few more to keep in mind when you review and edit your images and pick out the best of the best.
I like to think of the following information as a standard for bird photography, especially for beginners but I think anyone can gain a number of tips and ideas that will simplify some of the mechanics and thoughts that factor into a given photo opportunity. Some of these techniques I learned during my first years of photographing wildlife, others I learned from other photographers either in person or by reading their magazine articles or online.
Of course, it is really just an outline of good photo practices that I’ve learned over the years which can be adjusted to your interests and conditions. Well, here goes:
Even before I begin photographing, I work within a simple framework of planning.
It’s important to watch the weather and try to plan your photography for when there is plenty of sunlight. I watch the weather reports to make sure I will have quality sunlight. Bird photography is always best when there is adequate sunshine from the optimum direction and angle.
Sunny mornings and early afternoons are best for photographing. However, during the winter months, when the sun is positioned farther south in the sky, you can often photograph with good sunlight angles throughout the day.
I preset my camera so I’m ready to take a photo at a moment’s notice which happens fairly often when photographing birds. Then, when I’m in a position to photograph and have an extra moment, I double-check the settings and adjust any if warranted.
You should never use the automatic setting on a camera. Instead, it’s best to set the Mode Dial to the Aperture-preference (Av) setting. Then set your aperture (f-stop) and the camera will automatically provide the associated shutter speed as determined by the amount of available light.
During sunny days, I preset the ISO to 400 with an aperture of f7 or f8 and the resulting shutter speed will usually be between 1/1200 and 1/2000—fast enough to stop most motion.
Lighting
Keep the sun at your back so the sunlight illuminates your subject as directly as possible.
Your shadow is a good indicator of the direction of the sunlight; try to keep your shadow pointing at your subject as best you can.
Be aware of shadows on the bird you are photographing caused by the angle of the sun when you’re not in the optimum position. In the field, you often don’t notice a shadow but because shadows are more obvious in photos, it’s good to watch specifically for shadows and adjust your position to avoid them when possible.
Bird Photo Ethics
Try not to disturb birds, especially if they are feeding, nesting, or are caring for young—the birds’ well-being always comes first.
Don’t get too close; allow birds to behave naturally. If you see a bird become aware of your approach, stop and wait to see if it will relax after a few minutes. In fact, when you stop short of alarming birds, they may actually move closer in your direction on their own.
If you try to approach a bird, keep a low profile, move slowly, and don’t walk directly at the bird; move at an angle to the bird that gets you ever closer, slowly zig-zagging if necessary while keeping the sun at your back as best you can. Don’t look at the bird for long; give it the impression you are interested in something else.
Anticipate the next move of the birds you are photographing and be prepared to photograph that action.
When you find a trusting bird, spend a little extra time with it. You may get another perspective on the species’ behavior and you may be able to photograph another of the bird’s activities.
In the Moment
Focus on one eye of the bird to be sure your focal point is in the middle of the bird. If the eye is not in focus, your photograph will suffer.
If the bird is swimming, wading, or walking consider repositioning yourself lower to the level of the bird by kneeling or even lying down in some cases.
Stabilize your camera and lens as best you can to reduce body shake that could be transferred as you hold your camera. Lean your lens against a tree, window frame, or another stable option. When photographing in the open, you can brace your elbows against your chest as you handhold your camera and lens.
Some birders use a tripod to help stabilize their camera and lens, but for many of us, using a tripod is cumbersome at best, especially when photographing flying birds. For me, dealing with a tripod takes much the fun out of bird photography. But if you use a tripod, consider using a shutter release cable to optimize the stability the tripod provides.
Keep aware of the background of your photo. Try to eliminate distracting twigs and grass from view which may be a simple matter of taking a step right or left in some cases to get a clearer background that is less distracting. However, in some cases, a twig with budding leaves or other vegetation can add a pleasing natural element to a bird photograph.
Getting a more uniform background can be accomplished with some success by reducing the area of focus (depth of field) to throw the background out of focus. The blurred effect helps to emphasize your subject and is accomplished by setting your aperture to a narrow f4 or f6. That aperture should keep your bird in focus while blurring the background (and foreground). Be aware that this technique works best if there is some space between the bird and the background elements.
Using a narrow f4 or f6 aperture also provides a faster corresponding shutter speed which is helpful in stopping the motion of fast-moving songbirds and birds in flight while creating sharper images overall.
It’s fine to have plants or other natural elements show in the background and in some cases, you will want to embrace the background. Then, you may wish to increase the area in focus around the bird by dialing the aperture to f11 or f14 as long as you have plenty of shutter speed to work
Composition and design
Try not to center a bird in the middle of the photo; leave a little more space in front of the bird for it to look into, walk into, or fly into.
To better understand how to position a bird within your photo frame, consider the “rule of thirds” which artists often use when composing their works. Photographers also use this technique for photo framing and design, although it is just a guide to be aware of when composing photos.
When using photo editing software, I edit a photo as little as possible; but simple cropping of an image can improve some photos immensely. Cropping extraneous areas of a photo can also increase the size of the bird in a photo frame—effectively zooming in on the bird.
Try to keep up with your photo reviews and editing, preferably after each photo session. Keep your photo files orderly and easy to access.
It’s easy to keep your photos on external hard drives, separate from your computer, although it’s always convenient to have a file of favorite photographs saved on your computer.
Keep two copies of all photos—preferably in different locations to ensure you never “lose” any of your valuable photos.
Worth Pondering…
We don’t take pictures with our cameras. We take them with our hearts and we take them with our minds, and the camera is nothing more than a tool.
Here are a few tips to help take your photos to the next level when you’re on the road
With cameras on our phones, everyone is a decent photographer these days. It’s easy to grab a snapshot or a selfie at a moment’s notice. But sometimes it’s difficult to capture mementos of our travels—nature shots seem ho-hum and boring. So here are 12 tips to help take your photos to the next level.
When you take a photo, you are really just capturing light, so you need to be able to pay attention to all your light sources and understand how they will interact with the mechanics of your camera.
Beautiful, sunny days look gorgeous but cameras can struggle with the harsh shadows cast by the midday sun. If you’re shooting portraits, place your subject in the shade to get the same exposure on their face and body. You can always bump up the brightness using a photo editing app to get it exactly how you want it to look as long as the light is even.
If you’re shooting a landscape photo, try angling your body so that the sun is at your back, shining on whatever you’re shooting. Unless you’re into artsy stuff, in which case, I love the look of bright, dappled sunlight coming through tree branches with just a hint of a lens flare. This technique works especially well for Spanish moss, the silver garland that hangs from live oak trees in the Southeast especially in the Low Country where it is just about everywhere you turn.
Here is a brief summary of the three parts of your camera’s exposure. ISO: This sets how “sensitive to light” your camera becomes. A higher ISO number means the camera will be more sensitive so you can use a faster shutter speed or smaller aperture, but will also be progressively more grainy with higher and higher numbers.
Shutter Speed: This sets how long your shutter will stay open, letting light hit your sensor. Slower shutter speeds will produce motion blur if anything in your image is moving but they let in much more light allowing for a lower ISO or tighter aperture. Faster shutter speeds can “stop time” and make even quickly moving objects appear to be frozen but they let in much less light, so you’ll need to compensate with a larger aperture or a higher ISO.
Aperture: The “aperture” of your lens is much like the iris of your eye—it can be opened very large to let in a lot of light or it can be opened only a tiny bit to let in only a very little amount of light. As I discussed above, a wide aperture will produce a very shallow depth of field while a smaller aperture will produce a much deeper field of focus.
It should be obvious that ISO, shutter speed, and aperture all affect each other. If you open your aperture, you’ll need to speed up your shutter or use a lower ISO. If you change your ISO, you’ll need to adjust either your shutter or aperture (or possibly both) to compensate to get the right exposure. Once you have mastered the exposure triangle, you can leverage the parts of the triangle to more accurately capture what you see.
An hour or so after dawn and an hour or two before sunset is what photographers call “golden hour.” It refers to the special golden quality the light takes on during those periods when the sun is low in the sky and its rays are slanting through the atmosphere.
Golden hour makes any subject look a little more magical whether you’re shooting a mountain at dawn or a late afternoon desertscape. If you’re looking to capture some really special keepsake photos, plan your best shots for golden hour and watch as Mother Nature gilds your subjects with light. And if you’re shooting a sunset, don’t forget to turn around as the scene before you might be even more amazing.
One common photography pitfall is shooting a subject from too far away. But getting closer and filling the frame can make for more dynamic shots whether you move physically closer to your subject or zoom in a bit. You can still shoot “wide” or from further away but adding a handful of close-up shots will imbue your photo story with rich context and detail it may otherwise be missing.
To build off that, sometimes it’s not possible to get closer to the subject of our photos. In which case, why not rethink the subject? Instead of shooting a photo of the sunset, try focusing on something nearby instead. A stand of saguaro or a row of palm trees, a bee on a flower, or a sandcastle casting a long shadow on an empty beach. You’ll still get the benefit of that beautiful sunset light but a shot of a smaller detail is more likely to bring back the feeling of that place and time as opposed to a generic photo from further away. Sometimes specificity just makes our memories stronger.
We’ve all seen funny pictures online of people who were unwittingly photo-bombed by their surroundings. Animals popping up unexpectedly or a background object captured at just the right moment to make it look like it is part of something else. When you’re intently focused on capturing your subject, it can be easy to overlook unwanted elements in other parts of your photo. Like a shirtless guy drinking beer just behind your smiling partner’s shoulder or a dog in the middle distance picking that exact moment to heed nature’s call.
So take a second to scan your photo composition and look for unwanted elements. Sometimes it pays to wait a few extra seconds for tourists to clear your shot, giving the illusion that your surroundings are more serene than they really are.
A hiker in Arizona recently slipped and fell 700 feet to his death after trying to take a selfie on the Flat Iron Trail in Lost Dutchman State Park. Time and again, the smallest misstep, distraction, or lapse in judgment has resulted in severe injury or death. To help raise awareness, the National Park Service published a guide to safe photos. “Be aware of your surroundings whether near wildlife, thermal areas, roads, or steep cliffs,” the website says.
Stay focused on your surroundings, not your shot. Tripping, slipping, and falling whether into water or from great heights have all led to selfie deaths. One moment of inattention or distraction could mean the difference between life and death.
Keep your eyes focused on where you’re going and where your feet are more so than what’s in the viewfinder of the camera especially if you’re trying to take a selfie. Make sure your feet are planted firmly before you line up the shot and then don’t move once you do that.
Sure, they’re kind of silly and we all had a good time making fun of selfie sticks when we first heard about them, but the thing is, they can be useful. For one thing, you can take more than selfies with them. They’re perfect for capturing group shots without leaving anyone out. No need to set the timer and dash to get in your own family photos. It’s like having an extra-long arm to help you angle your camera perfectly, so you don’t have to cross your fingers and hope a stranger has good photography skills and the patience to get your shot just right. And if you happen to be in an area where there’s no one around to take your photo, well, then nobody will judge you for using a selfie stick, will they? It’s goofy, it works, I don’t have one but you can embrace it. I won’t laugh!
In case this isn’t obvious, tripods are perfect for setting up things like long-exposure photos, videos, and group shots. Monopods also provide support for cameras and help photographers steady their shots and are less cumbersome to tote than tripods. But if you’re a casual photographer, you might not want to lug a tripod (or monopod) around with you.
Keep your eyes peeled for flat surfaces where you can prop up your camera to capture shots that require total stillness. For instance, you might set the self-timer and then run into the frame to capture a cool portrait shot on a solo hike. Or maybe you want to do a time-lapse of fog moving across the water or the moon rising. Get creative with your surroundings to help get the shot you want.
And if like most of us, you’re using your phone as a camera, there are some very cool, bendable mini-tripods you can get online to help position your shot.
10. Use a BlueTooth remote
Another easy hack is to buy an inexpensive BlueTooth remote control to trigger your shutter. Rather than using a self-timer, you just keep the small control in your hand and press the button to signal to your camera or phone to take a shot. It’s great for self-portraits or setting up your camera to capture skittish birds while you hide behind a tree. Or, shy, small, peaceful wildlife, like rabbits. Don’t do this with bears.
Burst mode is when a camera just automatically takes shot after shot of stills in a row. You can typically trigger this function by holding down the shutter button on your camera or phone. It’s great for capturing quick-moving action, like someone doing a cartwheel or a cheetah going for a run. But it is just as handy for getting selfies or group shots because you’ll capture twice as many photos as you typically do, allowing you to sift through the stills for the perfect moment.
You can also use burst mode to create really cool stop-motion effects, almost like a movie, since there are subtle changes from shot to shot. There are a million ways to experiment and play with burst mode, so let your imagination fly.
I can’t count the number of times I’ve been in a perfect position to capture a truly memorable image but had my camera in my bag, or turned off, or on the wrong settings. Some shot opportunities only last a second or two and if you don’t have your camera in your hand, turned on, and set to reasonable settings you may miss it. When I’m shooting, I’ll frequently double-check my camera settings. I’m constantly adjusting the exposure triangle (see above) to fit what I’m shooting so I can be ready when the opportunity arrives.
We’ve all heard that practice makes perfect but I prefer the adage that perfect practice makes perfect. Photography is an art form that requires a lot of mental thought be put into every shot. I’d recommend practicing each of the previous tips one at a time until they all become second nature and you can easily do them all at the same time. Then you’ll be armed with the tools you need to truly capture what you see.
Worth Pondering…
We don’t take pictures with our cameras. We take them with our hearts and we take them with our minds, and the camera is nothing more than a tool.
Use the mode that helps you capture the image you want
Are the settings on your camera really so hard to understand? Of course not, but it can seem that way at the start, especially if they are not explained to you in simple terms you can understand.
For some photography snobs, shooting in manual mode is a badge of honor, shunning any other mode as something akin to cheating. I do shoot in manual mode, but I use Aperture Priority and Shutter Priority as my preferred modes of choice.
Typically represented by a capital A (or sometimes Av, short for Aperture Value) on the camera mode dial, aperture priority allows the photographer to dial in this specific exposure setting—the ƒ-stop—and asks the camera to calculate the correct corresponding shutter speed in the instant before the shutter is released. Before we get ahead of ourselves, let’s back up just a moment for a better understanding of how aperture priority mode works.
A camera has three primary exposure modifiers: aperture, shutter speed, and ISO. The aperture (also called ƒ-stop) is the size of the opening in the lens which modifies the amount of light that’s let into the camera.
The shutter speed modifies the duration that light is let into the camera.
And the ISO (or film speed, back in the old days) represents how sensitive to light the sensor will be. A higher ISO is more sensitive to light (and produces more noise) while a lower ISO is less light sensitive but produces a cleaner signal and better image quality. These days, though, sensor technology is so good that even high ISOs still look great.
It’s by adjusting these three settings in combination that proper exposure is established. If you allow in less light with a smaller aperture, you’ll need to balance it with more light from a longer shutter speed. Add to one, take away from the other. Simple, right?
Well, sometimes it’s not so simple, particularly in situations in which the light is changing. This could be when I’m photographing in full sun then moments later in shade. These changing situations make automatic exposure modes more convenient than continuously recalculating the correct manual exposure.
But rather than turning over all the control to the camera, modes such as Aperture Priority and Shutter Priority allow the photographer to retain manual control over one specific setting. In this case, it’s Aperture Priority, where the photographer sets the ƒ-stop and the camera calculates the correct shutter speed to accompany it.
Aperture Priority mode is particularly helpful in situations where the photographer wants to set a specific depth of field and have that setting take priority over the shutter speed.
Aperture Priority is my mode of choice with landscape photography. To create a sharp image area through greater depth of field the photographer can dial in a tiny aperture such as ƒ/22, and in Aperture Priority the camera will determine which shutter speed will produce the correct exposure. Be warned, though, that in this case, a tripod may be necessary if low light requires a long shutter speed that’s too long to handhold.
Now that we understand the way Aperture Priority mode works, we’ll look at its counterpart on the automatic exposure spectrum: Shutter Priority exposure mode.
Often represented by an S or Sv on the camera mode dial, Shutter Priority mode sees the photographer dialing in a manual shutter speed and leaving the selection of the appropriate aperture to the camera’s brain.
As with any automatic exposure mode, Shutter Priority is particularly helpful in changing light situations, though it’s useful in any situation in which it’s the shutter speed you primarily want to control.
For instance, when I’m shooting birds I want at least 1/500th, I can set the shutter speed in Shutter Priority and let the camera pick the correct aperture to accompany it.
Be aware though if your shutter speed is too fast for the available light you may end up with underexposed images. This can be corrected by dialing in a higher ISO.
Worth Pondering…
Great photography is about depth of feeling, not depth of field.
From just-starting-out to novice to experienced, there’s something we can all learn to improve our photos
Photography is a beautiful journey, filled with adventure, and an occasional killer photo. Regardless of where you are on that journey—just starting or embarking on a professional career—these 20 quick little tips will help you and your images stay in focus.
1. No matter how pro you get, it’s still a passion play
Don’t lose the spark that got you into photography. Your passion for creating beautiful images of things that interest you is the underlying motivating force behind every shot you take. When that spark goes out, it also leaves your images. So, treat your inspiration and creativity as the most vital skill you have. Honor it, cultivate it, and nurture it.
You can always get to know light better. Whether it’s landscape photography or birds, lighting is the most important part of photography. Try different ways of capturing light.
Whether it’s an adherence to the rule of thirds, a love of circles, filling the frame, dramatic lines, or repeating patterns, your choices in how you frame a shot defines your photography.
5. Zen and the art of Aperture, Shutter Speed, and ISO
Here’s what you need to know about the big three: aperture, shutter speed, and ISO. Each is designed to give more light with a payoff. Understand what each element takes away as it increases light:
A larger aperture gives more light but takes away the length of your depth of field (blurrier backgrounds)
Slower shutter speeds give more light but make your images blurry with camera motion or subject movement
Higher ISO offer more light but adds noise to your image
When shooting in manual, know what the controls take away as well as what they give you.
As lines recede in space, they converge. We know it as perspective. Photographers use leading lines to engage the viewer by drawing their attention into and through an image and to create a dynamic feel. Experiment with the height of your camera, how you position it to look down a road or meandering stream, and where the lines all lead. Kneeling down can dramatically change the way a photo will feel. Likewise, looking down from a high point will alter the perspective. And don’t forget to turn around. A stellar shot may be behind you.
As the legendary photographer, Robert Capa used to say, “If your photographs aren’t good enough, you’re not close enough.” To get the composition you need, sometimes you need to get close—really close. Moving in close to foreground subjects adds incredible depth to a photo. In most cases, you’ll want to shoot at a small aperture to maximize the depth of field in the resulting image.
Put your camera in an unassuming backpack or another option, and keep it near at hand—just in case. You can’t take a photo if you don’t have your camera handy.
I’m sure I’m not the only one who says “That’s a great scene, but I’m just too tired, or I’m in a hurry. I’ll return later when there’s improved quality of light or come back another day.” There’s rarely a next time—and if there is, conditions have changed.
In the beginning, you go out and shoot, and some images look good and some don’t. Then you adjust and get a higher percentage of good images. As you move on from there, never stop those little adjustments. That one step closer to the subject, a slightly steadier hand, experimenting with leading lines—these little things will improve your photography one small adjustment at a time.
Once the amateur’s naive approach and humble willingness to learn fades away, the creative spirit of good photography dies with it. Every professional should remain always in his heart an amateur.
Exploring a new destination from behind a lens or camera is one of the most rewarding aspects of travel
Welcome to the summer of 2020: the season of the road trip. After months in quarantine to slow the spread of coronavirus, you’re likely eager to get outdoors and find healing and rejuvenation in nature. Isolated roads, refreshing rivers, desert vistas, towering trees, and rugged coastlines wait as we safely venture out in RVs and cars. You may not be comfortable to board planes this summer but the open road is calling and, with that, the need to capture the beauty that surrounds us.
No more virtual escapes; you can now set out on a journey in real life (following social distancing protocols, of course) and chronicle your travels in photos. Your camera can document your location, record your experiences, and provide you with incredible creative interpretations. It can capture the expressions as you discover something new and record unforgettable moments and stunning panoramas on your adventures this summer.
It’s always helpful and fun to research areas where you plan to travel. Look for iconic or off-the-beaten-path locations that will make your summer trip special. When planning a road trip, think about a specific location and being there at the time of day that will give you the best light. Google Earth, maps, tide charts, weather apps, and general location searches are helpful. Destination apps can also help identify great shooting locations.
Create a photo goal checklist of what you might see and do along the way. If you are in an area that is inhabited by animals and birds, download nature guide apps and review checklists for spotting wildlife and keeping everyone safe. Guidebooks for locations, wildlife, and local history will help you get the most out of an area.
Great photos can happen any time of day especially when you engage friends or family to be part of the photo experience. Think of new or unique ways to include everyone in an interesting visual narrative. Put yourself into the composition at beautiful locations to tell more of the story and to create memories for life.
Photograph in the amazing golden light of sunrise or sunset. Sunrise on the east coast is a beautiful experience only matched in magnificence by stunning west coast sunsets. Use a wide-angle lens to capture any developing cloud structures in the vast expanse of surf and sun. Arrive early to capture vibrant color before sunrise and stay after sunset to enjoy a brilliant sky.
Any road trip to the beach should include a picnic lunch, photography, exploration, hunting for shells, and time for a swim. A boulder-covered beach creates interesting foreground elements. As summer clouds build, your photos will look more dramatic.
Use a telephoto or telephoto zoom lens to photograph wildlife. A beautiful animal or a small bird can get lost in a composition otherwise.
Keeping your distance is respectful for wildlife and keeps you safe at the same time. A 72-year-old California woman was recently gored and injured multiple times by a wild bison at Yellowstone National Park after repeatedly approaching the animal to take its photo. If you are shooting from your car, a beanbag resting on your window will help you stabilize shots while using a long lens. Patience is a key in capturing a unique gesture that shows the beauty of wildlife.
Research the area and find out when and where wildlife is likely to be spotted. Guidebooks help on identifying the species you may encounter.
Have fun with your camera but make enjoying the overall road trip experience and beauty of your location the biggest priority. The sights, sounds, photo ops, and family time will be great memories forever.
Now, go and have a fabulous summer!
Worth Pondering…
We don’t take pictures with our cameras. We take them with our hearts and we take them with our minds, and the camera is nothing more than a tool.
