Monthly Archives: January 2016

Photographing the Yellow Rumped Warbler and Experimenting With Focus Preset

Photographing the Yellow Rumped Warbler

In my yard and in most of the Eastern US, it’s the hardy white throated Yellow Rumped Warbler of the Myrtle subspecies who lingers in the cold long after other species of warblers have gone south. Feasting on bay berries to survive, it’s not uncommon to see them here in November and December.

In the western U.S., the yellow throated Yellow Rumped Warbler of the Audubon subspecies thrives. Both have the trademark “butter butt” – a bright yellow patch of feathers above the tail.  NOTE: I hope to photograph this western variety on my next trip to California. Update:  My first day in San Diego and the Yellow Rumped Audubon subspecies showed up in front of my camera. See last photo below.

Yellow Rumped Warbler

Yellow Rumped Warbler from
the Myrtle Subspecies.
ISO1600; f/5; 1/500 Second

Finding the Right Perch

In my yard we have a few optimal bird perching spots with lush and colorful backgrounds that receive a good amount of the morning light. They are ideal little niches with no unsightly and chaotic debris to interfere with the len’s ability to lock focus. Most importantly, I know warblers perch there.

Photo of Yellow Rumped Warbler
Yellow Rumped Warbler.
ISO1600; f/5; 1/500 Second
Photo of Yellow Rumped Warber
Yellow Rumped Warbler of the Audubon subspecies.
Common in the West.
ISO640; f/8; 1/2000 Second

The Focus Preset Function of the Lens

These perching spots offer an opportune time to practice a function on my telephoto lens that is never urgently needed but fun to play with. It’s called FOCUS PRESET. I don’t use this function much because it’s unnecessary for the most part… modern auto focus lenses are so fast to focus.  But, since I paid a whole lot of money for my 300mm and 500mm L II lenses, I think I might as well better understand the precision electronic data-transfer controls that make them so expensive.

Focus Preset allows the photographer to save a predetermined distance to the len’s memory and then automatically recall it.

To Set Focus Preset:

1) Turn the focus preset switch to On or On with Sound. (NOTE: The On w Sound setting simply means that you will hear a beep to confirm that focus preset is initiated. On w/o sound  = no beep.)

2) Using auto or manual focus, focus the lens on the spot that you want the lens to memorize.

3) Press the SET button

Your desired distance is now saved, and will be saved in the lens until you turn the focus preset switch to the “off” position.

To Engage Focus Preset

The auto focus function on your lens works as it normally does until you recall the Focus Preset.

Just give a little twist (either to the right or left) on the thin serrated metal focus preset ring (located right in front of the manual focus ring on the lens) to instantaneously recall the lens to focus on the spot previously saved to memory.

Kind of fun once you get the hang of it.

Subspecies or Hybrid

NOTE: In my many bird photography adventures, I have photographed several subspecies, but I have never photographed a bird that would be considered a hybrid. A subspecies is a variety of the same species….a population (usually geographically isolated) that has a slightly different appearance than others of its own species. A hybrid is born when two different and closely related species successfully breed..

An excellent article about hybridized warblers can be found at this link.

To see photos of Palm Warbler Subspecies, press this link.

Photographing the Male Scarlet Tanager -My Nemesis Bird

Formidable to Photograph

It’s official. The male Scarlet Tanager is my “nemesis” bird. That’s bird photography jargon for the inability (over and over again) to connect with a readily identifiable but highly illusive bird.

Once you claim a nemesis bird, it becomes personal. More than just chance, luck or opportunity is at work. Nature is simply not cooperating- and if you give up, you have failed. It’s all the more irritating when the bird is not a rarity, but a nesting resident right in your home town.

“My Destiny Calls and I Go”

Despite years of searching, this secretive though not uncommon bird intentionally thwarts and eludes me. I have spent countless hours in the woods with my camera, following up on leads, plotting, hoping, yearning. During my many travails, I have had a thrilling sense that a male Scarlet Tanager finds me….watches me.  I see quick red flashes high in the trees that vanish into nowhere. I’m at a point now where I will settle for any shot, but hope for the time and light to do it right.

NOTE: To add insult to injury, my husband once boasted that a tropical looking male Scarlet Tanager was shamelessly showing off his Spring plumage right in our back yard, no doubt with a ginormous colorful insect in his beak.

Photo of Female Scarlet Tanager
Female Scarlet Tanager Eating Fruit.
ISO 1250; f/9.0; 1/500 Second

Photographing the Female Scarlet Tanager

One lucky day in late summer, 2014, I saw two of the less intangible female Scarlet Tanagers high in the forest tree top canopy. The female’s plumage is muted; olive above, yellow below, far less exotic looking than the male. She sports thin yellowish eye rings and (like the male) a thick round beak, accented with a little notch. These photos were taken as they feasted on the fruit high in a Mulberry tree.

Tripod Shooting Angle

Photographing the underside of a bird produces mostly unflattering images. The shooting angles for the images below were still within the range of the tripod head – even for the highest bird. NOTE: Shooting angle on most tripod heads is restricted. However, I find it almost impossible to handhold and then prop upward a camera with a 500mm telephoto lens. Even with image stabilization engaged, there’s too much shaking! I was happy that the shooting angle was such that I was able to keep the heavy camera on the tripod head.

Photo of Female Scarlet Tanager
Female Scarlet Tanager
Notice that Little Notch around Center Point
In Her Long Beak.
ISO 640; f/9; 1/500 Second
Photo of Female Scarlet Tanager
Female Scarlet Tanager.
The Big Beak Comes in Handy.
ISO1250; f/9.0; 1/500 Second

It’s Personal, Not Business

The pursuit of bird photography is personal for me. Absorbed in the challenges of this pursuit, enjoyment mounts and hours fly by. Searching for and then capturing an image of these avian wonders in their natural habitats cultivate within me a deep interconnection with nature. It’s a passion into which I can pour my heart and soul.

I’m resigned to waiting until next spring when the Scarlet Tanagers return from Northern South America and the Caribbean. After all, what other choice is there?  

Patience! Perserverence!

“And the wild winds of fortune will carry me onward
Oh, whither soever they blow.”

Man of La Mancha 

Photographing Semi Palmated Plovers and Understanding Dynamic Range

A Slow Winter Season, So Far

So far, January, 2016 has been cloudy, comparatively warm, and sadly disappointing as far as bird photography goes. I know they are out there, so I still have high hopes of capturing a few birds in their winter habitat. Until then, I will tap into my portfolio of bird photographs from sunnier, more productive photo shoots. The images below were taken in Southern California in February, 2015.

Semi Plover

Semi Palmated Plovers
On a Beach exhibiting a Wide
Dynamic Range.
ISO800; f/6.3; 1/2000 Second

Photographing Semi Palmated Plovers

The Semi Palmated Plovers are the tiniest birds foraging for food on the Southern California shoreline. These shorebirds are compact, fast and handsome as they skitter about rummaging for insects, crustaceans, and worms in the mudflats. Come Spring, most of them will begin their migrational trek to nest in the northern arctic and subarctic regions.

Semi Palmated Plovers are reminiscent of Killdeer because they lead predators away from the nest with a “broken wing” display. Their young are precocial — able to walk away from the nest shortly after hatching and feed themselves. (Press this link to read more about Killdeer.)

These birds allowed me to get close with the camera…..up to a point. Once I tip-toed too close for comfort, the whole group jetted off to forage a few yards ahead on the beach. The light was good, considering it was mid-morning and the slippery wet beach sand was highly reflective. I still was able to pick up a wide variety of dark and light colors as I framed the images.

What the Sensor Can Do

Modern, sophisticated digital camera sensors are remarkable inventions and the quality images they produce have convinced millions of photographers to abandon film. To better appreciate the capacity of these little imaging chips, and their recording limitations, it’s a good idea to better understand the concept of “dynamic range”.

Dynamic Range

We have a few musicians in my family, so when I think about dynamic range, I think about how it is used to define and measure (in decibels) the quietest sound to the loudest sound that can be recorded. If you hear music that does not vary in amplitude, it is said to have a small dynamic range. A wide mix of soft and loud sounds in a piece of music has a wide dynamic range.

In digital photography, dynamic range defines how much dark and light variation your sensor can capture in a scene. The range of this variation (tonal range) is illustrated by the camera’s histogram on a 0-256 scale. It displays the darkest part of the photo (on the left commencing with 0 on the histogram) and the lightest part of the photo (on the right ending with 256 on the histogram).

If some of the dark and light details in your captured image overflow past one or both of the extremes on the histogram (0 or 256), the camera’s sensor is not capable of reading or recording those details. Consequently you will see a lot of washed out whites or black blobs in your images. (NOTE: The highlight and shadow recovery tools available in post processing may be able to recover a little more variation detail beyond what appears on the histogram. 

Photo of Semi Palmated Plover
Semi Palmated Plover
ISO1250; f/6.3; 1/2000 Second

High dynamic range images are those with a wide range of tones and whose tonal values reside within the confines of the histogram. If everything in the image has the same brightness, it is said to have low dynamic range.

Controlling Dynamic Range

If the dark and/or light tonal intensities are reading beyond the range of the sensor, you may be able adjust exposure and capture more detail. I usually reduce exposure to insure that I don’t clip the highlights. NOTE: Human eyes are capable of seeing a wider dynamic range then a camera sensor can “see”. It’s a good idea to check the histogram often to see if the dynamic range of your scene that seems OK to your eyes is within the sensor’s confines.

Controlling dynamic range is also possible through the use of a graduated neutral density filter. These filters progressively darken the area of the brightest parts of the scene – like the sky – and thus reduce the range of brightness. Consequently, the sensor can read more detail in the shadows and low light areas.

HDR Solutions

Another way to enhance tonal richness within the dynamic range scale is by using HDR. A High Dynamic Range photo is a compilation of exposures of a static subject. The HDR function allows the photographer to capture more detail on both ends of the 0-256 tonal range spectrum by combining 2 or 3 or even 4 images. A HDR algorithm incorporated in the camera’s software (or post processing software) pulls the images together into one.

Differences in Camera Sensors

Camera sensors differ as to how much dynamic range they can capture. (NOTE: The dynamic range of the Canon sensors installed in its professional cameras is not as highly rated as Nikon’s sensors, manufactured by Sony). The tonal value limitations of sensors are most evident at the darkest and brightest areas of the image. In general, the bigger the sensor and the bigger its pixels, the more light that can be gathered and the more highlight and shadow detail that can be distinguished. 

Read Your Histogram

Train yourself to regularly read the histogram on the back of your camera, and take those extra shots if you need to get a wider spread of tonal values. You will become a more insightful photographer if you do.

To read more about Histograms, press this link.

 

Photographing a Nashville Warbler and Thinking About New Transport

Finding and Photographing Nashville Warblers

These photos of a Nashville Warbler were taken in the Allegan Forest in October, 2015 after I spent hours the night before preparing my pack and then hauling heavy camera equipment into the woods early the next morning. It was worth it. My final destination was idyllic, as was the soft glow of the morning light.

I am pleased with the images, but weary too. I need a simpler and more efficient way to transport my photo gear to and from my car and home.

Photo of Nashville Warbler

This Nashville warbler was ducking in and out
of the bushes; quite a challenge for
the Camera’s auto focus.
The early morning light was strong and contrast good.
ISO400; f/9; 1/1000 Second

Heavy Gear Weighing Me Down

Transporting equipment back and forth to the site is what photographers do. Countless times I have cradled my camera and lens in my arms like a baby, thinking that a short walk with my gear will be no problem. I plan ahead by wearing multi-pocketed pants, shirts, vests, all with extra pulls, straps and harnesses designed to hook onto my tripod and other requisite gear. When I’m not supporting the camera and lens in my arms, everything is packed in my fancy, stiffly padded (and heavy) backpack.

Inevitably, the short walks turn painfully long over bumpy, uneven (slippery, wet, hilly) terrain. The camera equipment gets heavier with every step I take. I do not have a lot of upper body strength and before midday, I am sore and anxious for the day to end.

Photo of Nashville Warbler

Nashville Warbler, Posing Amongst the
Red Branches.
ISO1600; f/4; 1/500 Second

Struggle Less and Enjoy Photography More

My goal is to struggle less and enjoy my photographic adventures more by getting this equipment off my back and onto a cart that is ergonomically designed to roll over tree roots and up and down uneven, sandy or snowy hills. After consulting with various nature photographers, the cart that appears to be most suited to my needs is the Eckla Beach Rolly Gear Cart.

Well Designed Equipment Transport

The company’s ad makes this cart sound so easy and convenient that I assumed that the Eckla Beach Rolly Gear Cart had its own means of propulsion. Nope. This equipment cart must be drawn or pushed. However, it’s made of light aluminum and outfitted with sturdy, wide pneumatic wheels (rustproof, sand proof, salt proof) which should reduce my struggles and make my role as a plow horse easier. It’s basically a collapsable cart that disassembles and transports easily. When assembled, you strap your gear stuffed camera bag and tripod (up to 176 lbs) onto the cart and off you go.

The company offers 2 basic models…. (1) Cart only; and (2) A cart with a built in nylon seat. As with most equipment associated with photography, smartly designed gear transport is expensive. I’ve decided that the time has come for me to lighten my load and enjoy bird photography more. I’m going to take a chance that this transport system will be worth the $200 price tag.

For more information about the Eckla Beach Rolly Gear Cart, visit this link.

Photo of Nashville Warbler
Nashville Warbler,
After a long walk, I Found
a good location, bright
enough to get fairly low ISO.
ISO160; f/9; 1/1000 Second