An american white pelican stands on one foot on the shore of a lake

There is a large pond near my house that attracts American White Pelicans at various times of year, sometimes in large numbers. I’ve seen as many as 30 pelicans congregated along the shore, preening and snoozing. I came across this solitary pelican late last year. As it was getting close to winter, this pelican didn’t have the typical “horn” that grows from the top of the bill during breeding season.

An american white pelican spreads its wings and shuffles along an island in the middle of a lake

These photos were shot from the shore, with the setting sun behind me. The pelican had set up shop on a small island in the middle of the pond. One of the difficulties I encountered was separating the pelican from all the activity around it. Also on this island were many gulls (one can be seen in each photo), double-crested cormorants, black-necked stilts, and several sandpiper species. Needless to say, it was a pretty crowded place. I managed to get a few portraits that I liked, but frustratingly, some of the pelican’s best poses occurred while an ignorant interloper plodded by in the foreground. Such is nature photography. If I wanted complete control, I’d take up studio portrait photography!

An american avocet spreads its wings to come in for a landing

Most of the bird images I take tend to be portrait-type images. The reason for this is situational – like it or not, birds do a lot of standing around. While these static shots are great for exploring the finer details of a bird’s plumage, they show little of a bird’s behavior. That’s why whenever possible, I try to capture birds in action. Whether it be flying, foraging or fishing, photographs of birds in action can tell a more complete story about that species, as well as show off details that may otherwise be hidden.

Feet extended, a brown pelican skies across the surface of the water as it lands

One of my favorite action shots is the landing. When a bird comes in for a landing, the body tends to be more upright, which allows the underside of the wings to be angled toward the lens. The bird needs to stop both its downward and forward momentum, causing the wings to fan out at their maximum surface area, as shown in the first photo above.

Because the bird’s body is more upright, the landing is almost an action version of a portrait shot. Anthropomorphizing the body position, the bird is almost saying, “Okay, I’m here and ready for my photo op.”

A brown pelican flaps its wings as it lifts off the surface of the water

Conversely, the take-off shot is not usually as photogenic. The body is more parallel to the ground, and on the downstroke, the wings tend to flatten out and their detail is hidden from the camera. Also, the bird is definitely headed somewhere else, which lacks the same connection a viewer might feel with a bird portrait.

A white pelican spreads its wings as it takes off from the water

Sometimes, however, I get lucky with a take-off photo and capture the wings in the full upstroke position, showing wing detail and freezing a pose that happens very quickly. Although I am happy with outcomes like this, I still prefer the landing poses in photographs.

At the end of the day, there are so many bird behaviors to capture, finding those perfect moments is an endless quest. Multiply that by almost 9,700 bird species, and rest assured that the life of a bird photographer never gets dull.

A canada goose delivers a lesson to its young chicks

One of my favorite wildlife subjects to photograph is a parent with their new young. Watching how different species teach their children about the dangerous world in which they live is a joy.

Two canada goose chicks forage at the edge of a small pond

Seeing siblings interact is also a lot of fun. They play together, squabble, and compete for food. All of these help activities teach them important survival skills.

Two canada goose siblings swim together in a pond

Photographing these family interactions is challenging. You have to be close enough to catch the action, while still maintaining enough distance to let their natural behavior unfold. If you get too close to a family group, the parents will corral their chicks as if from a dangerous predator.

A gosling stands in shallow water eating

Canada geese is one of the easiest species to see these types of family behaviors in local wildlife. In the bay area they are a year-round species so there are lots of chicks running around in the spring.

A canada goose escorts its chicks to a small pond for a swimming lesson

They are much larger than ducks, which allows the parents to teach their young in open areas, rather than keep them hidden in the pickle weed like ducks.

A canada goose keeps a careful eye on its young

Sometimes I get so wrapped up in watching these chicks that I forget to take photos, and end up using my lens as a scope. They always bring a smile to my face.

Banner Peak is reflected in Thousand Island Lake at dawn, Ansel Adams Wilderness. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering -2/3 EV: 1/15 sec. at f/14.

Hiking out of June Lakes and up Rush Creek, we hit less than ideal weather. The climb was a brutal slog (4200 ft of gain), and thunder clouds began to congregate in the western sky. A biting wind whipped us from all sides, making even the flat spots (of which there were few) seem like a chore.

Finally we reached our destination – Thousand Island Lake. Rising above the lake was the impressive Banner Peak, but most of it was obscured by thick clouds. This is a very scenic and popular spot. Sitting next to both the Pacific Crest Trail and the John Muir Trail, it receives an enormous number of visitors each summer. Even though it was after Labor Day, and the weather was no good, there were still quite a few backpackers settling in for the night along the north shore of the lake. I’d hate to see this place on a mid-August weekend!

We set up camp and soon the weather was too cold to even wait for darkness to fall. We were in our tents by 7pm.

The sun rises over Thousand Island Lake and Banner Peak, Ansel Adams Wilderness. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering -2/3 EV: 1/15 sec. at f/14.

Dawn brought clear weather and introduced me to an entirely new landscape. The wind was gone, and Banner Peak was reflected like a mirror in all its morning glory. I finally got out my camera and began to hunt for shots. The day before I took only four photos the entire day.

After finally warming up, we packed up camp and decided to get away from the crowds. We headed north off trail. We only had one ridge to climb before descending into Davis Lakes. It was our shortest hiking day on record, but given the beautiful scenery we were surrounded by, we couldn’t complain.

Mt. Davis is reflected amongst the boulders in Davis Lake, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering -1 EV: 1/6 sec. at f/16.

We spent a leisurely afternoon by lower Davis Lake, and I scouted the area so that I would be prepared when the evening’s magic hour arrived. I was not disappointed, with views to the south (above) and to the north (below).

Mountains are reflected in the smooth surface of Davis Lake at sunset, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering 0 EV: .3 sec. at f/16.

After another long night in our tents, I woke long before dawn and watched the world slowly light up around me while I was hunkered behind my lens. It was our last morning out, and it didn’t disappoint. The landscape had a wholly different feel than in the sunset light the night before.

Sun lights the tip of Mt. Davis at dawn, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering 0 EV: .8 sec. at f/16.

The lake shore had many interesting boulders and grass features to position in the foreground. This helped to keep the shots varied and gave me plenty to work with in terms of composition.

The morning sun touches the peaks surrounding Davis Lake, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering -1 EV: 1 sec. at f/16.

Soon the morning’s sweetest light was gone, but I was confident that I had captured at least a little of the beauty around me. It was time to pack up and start the long hike out.

Mt. Davis is reflected in the still morning waters of Davis Lake, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering 1 EV: 1 sec. at f/16.

Despite the problematic weather at the beginning of our trip, I thought it turned out very well. I was glad to have visited this area, and know that I’ll be back to photograph it more in depth.

A calm lakes reflects the surrounding cliffs in early morning, Ten Lakes, Yosemite National Park. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering 0 EV: 1/6 sec. at f/16. Stitched vertical frames creating a 44 megapixel image.

We found a campsite at the far end of a small lake. The site was situated atop a thirty foot cliff, giving us a commanding view of the lake and surrounding cliffs. Behind us rose an unnamed granite peak, offering the camp a nice backdrop. Best of all however, was the nearby stream dropping from an upper lake into the lake below. There was an endless variety of small pools and cascades, giving me plenty of material to work with.

A stream runs between two lakes in the Ten Lakes chain, forming a small cascade, Yosemite National Park. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 50. Evaluative metering -2/3 EV: .6 sec. at f/16.

Just before sunset on our first night, the clouds started moving in. While other campers might have cast a worrisome eye to the skies, I was elated. I knew that the chance for a dramatic sunset was greatly increased with the changing weather conditions, and thankfully I was rewarded with one. The best part – I only had to walk about ten yards from our campsite to get the view I wanted. Given it required almost no work on my part, I almost felt guilty.

The dramatic skies of sunset are reflected in one of lakes of the Ten Lakes chain, Yosemite National Park. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering -2/3 EV: 2.5 sec. at f/16.

The next morning was bright and clear. I woke up early to explore the area, and see what the morning had to offer. Our little lake looked quite different in the morning, and I took advantage of the still air to get a nice reflection in the background of a camp-side stream photo. I can never get enough of Sierra Nevada granite.

Trees and vegetation grow amid Sierra granite, Ten Lakes, Yosemite National Park. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 50. Evaluative metering 0 EV: 1.3 sec. at f/16.

Working my way up the stream, I found a spot where I could capture the running water with the peak that rose above our site.

A stream cascades down slabs of granite below an unnamed peak, Ten Lakes, Yosemite National Park. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 50. Evaluative metering -2 EV: .6 sec. at f/18.

This day was a rest day – full of fishing and exploring some of the other lakes in the chain. Working our way up to a higher lake, we saw there were still huge slabs of snow right at the shoreline. Going higher still, we found a lake with no fish, but a perfect spot for a mid day swim. There is something very special about having an entire lake to yourself in the most populated state in the nation. Of course, along the way, I also had plenty more opportunities for photos.

A stream cascades through a forest in the Ten Lakes region of Yosemite National Park. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 50. Evaluative metering -2/3 EV: 1/6 sec. at f/16.

After exhausting ourselves and getting a great night of sleep, it was time to head back to the real world. It was a great trip, with beautiful landscape and only seven miles of hiking each way. While the location was not as remote as most of my Sierra trips, I enjoyed the slower pace and additional time for photography. I’ll definitely have to work in more trips like this in the future!

Clouds hang over the tufa at sunset, Mono Lake, CA. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 50. Evaluative metering 0 EV: 8 sec. at f/22

After a first evening of disappointing skies at Mono Lake, I went back later in the week on my recent trip to the eastern Sierra. Some clouds were building in the afternoon, and it looked like it would be a decent evening for sunset.

In my mind’s eye, I envisioned still waters, mirrored reflections of tufa, and a lightly clouded sunset sky. The sky was certainly shaping up, but late in the afternoon, the wind picked up and blew away any chance of tufa reflections. Because the wind was blowing the water into small waves hitting the shore, I decided instead to use a longer exposure to translate that lake motion into a quiet mist.

I knew that the tall tufa spires I had previsualized were out – I needed something smaller to use as a foreground to lead the eye into the lake. Whenever using a long exposure to create a water mist effect, I always juxtapose the water against razor sharp, highly detailed subjects. These usually end up being rocks, but in this case, tufa would work just as well. I walked along the shore until I found what I was looking for.

Trying to achieve a longer shutter speed, I added a circular polarizer and lowered my ISO to 50, giving me an 8 second exposure. This was plenty of time to soften the water, giving me the sought after effect. I moved back and forth, forward and backward, working the composition until I was happy with it.

After the sun had set, I walked back along the shore looking for subjects that would work well in twilight. The composition in the photo below caught my eye, and I made a quick photograph on my way back to the car.

A stillness descends on Mono Lake just after sunset. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 200. Evaluative metering +1/3: 8 sec. at f/16

On my second visit to Mono Lake, I was much more satisfied with the weather, giving me clouds to add a little texture to the sky. But I had to remain nimble in my thinking to work with and accommodate the wind. Sometimes all the planning and thinking about a place must be thrown out the window, but what you get in return may be unexpected and a great reward.

One problem area that crops up occasionally in identifying a particular species is a bird’s breeding plumage vs. its winter plumage. Many species molt into a different color and pattern of feathers, some as many as four times a year! Often a bird can look completely different in the winter than they do in the summer (during breeding season). Winter plumage tends to be more drab and monochromatic and it makes certain species very difficult to distinguish from one another. Below are two photos, one of an eared grebe and one of a horned grebe, both in winter colors.

An eared grebe in winter plumage swims through the water in between dives. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 800. Evaluative metering +2/3: 1/400 sec. at f/8

A horned grebe in winter plumage swims through colorful water. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering +1/3: 1/1250 sec. at f/8

These two grebes can be very difficult to tell apart, especially when one is only given quick views in between dives. Eared grebes tend to have more dark feathers on the front of their neck, whereas horned grebes have no dark feathers there (though that rule isn’t hard and fast). Another distinguishing characteristic is the presence of darker feathers beneath an imaginary line drawn from the end of the bill, underneath the eye, and around the back of the neck. Eared grebes have dark feathers here, while horned grebes don’t. Finally, eared grebes have a bill which turns ever so slightly up at the tip, while the horned grebes’ bill turns slightly down.

As you can see, these differences are slight, and make the two birds difficult to identify with certainty. Now compare the two birds in breeding plumage.

An eared grebe in breeding plumage swims through the water. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering +2/3: 1/500 sec. at f/8

A horned grebe swims through the water, just coming into breeding plumage. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering +2/3: 1/800 sec. at f/8

Not only are the birds very easy to tell apart, but they look nothing like their winter counterparts. The basic shapes of the birds are consistent, but the colors and additional feather patterns introduced into the breeding plumage keep the novice bird watcher on his toes. This type of challenge can only be overcome through experience (and frustration!). I can have a beautiful photo of a bird in the best light, but without properly identifying the species, the image isn’t salable. Luckily I have experienced friends who can help me get on the right track when I find myself with a tricky ID.

A male blue-winged teal is mirrored in the glassy water surface. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering +2/3: 1/400 sec. at f/8

Things have been pretty busy for me lately, with a quick vacation out of the country and running here and there to capture migrant birds as they pass through the area. I did manage to get some photos processed of a late departure – the blue-winged teal. There is a small pond near my house (local birders know it as “Radio Road”) that is one the best places in the Bay Area to view blue-winged teals in the winter. Several pairs are usually present and can often be viewed quite closely.

I saw this male in prime photographing position when I was out running. I find that running is a great way to scout out the miles of shoreline near my house to see where specific birds might be found later in the day. If he would just remain in the same general area for a while longer, I could finish my run and grab my camera.

A male blue-winged teal perches on an underwater rock. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 500. Evaluative metering +2/3: 1/1600 sec. at f/8

When I returned later in the day, he was still sitting in the same spot sleeping. Several other photographers had recognized this great opportunity as well and had set up shop nearby. Now the waiting game began. I needed him to wake up! I got in a comfortable position, sitting on the ground behind the tripod with its legs splayed out so as to get as low as possible. After about 15 minutes, one of the other photographers gave up and left. You can only take so many photos of a sleeping bird!

Finally the teal woke up, preened for a while, and swam around close to shore, feeding on submerged vegetation. The lighting was perfect, with the sun just starting to set behind me. I felt slightly bad for the absent photographer because I know I’ve been that guy before. The more experienced I become, the more I realize that patience is one of the most important virtues of wildlife photography.

A mandarin duck swims through smooth, still water. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 640. Evaluative metering +1/3: 1/320 sec. at f/8

I photographed this Mandarin duck today at a city park in San Jose. This is a very strange location for this species, as it is most often found in Asia. After speaking to some of the locals who visit the park often, I learned that this drake has been seen on and off at the lake over the last three years.

The Mandarin duck once flourished across eastern Asia, but today there are only about 1000 pairs throughout all of China, and about 1000 pairs in Russia. Japan is thought to have about 5000 pairs. They have also appeared in various locations in Europe, numbering about 1000 pairs in total. Because this species is not native to Europe, it is surmised that this population grew from escaped captive birds and flourished as a feral population. They have been breeding in the wild ever since. But where did this guy come from?

A head and shoulders portrait of a mandarin duck is captured as it swims through still water. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 640. Evaluative metering +1/3: 1/320 sec. at f/8

It turns out that something similar to what happened in Europe may have also happened in Sonoma, California, only on a much smaller scale. Sonoma is a couple hours drive north from San Jose, and has about 100 feral Mandarin ducks. I’m just guessing here, but this bird may be associated with that population. And apparently he enjoys coming to this lake!

A mandarin duck looks up after taking a sip of water. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 640. Evaluative metering +1/3: 1/320 sec. at f/8

It was fairly overcast today, which has its advantages and disadvantages for bird photography. One of the downsides is that the sky is much darker, which means that shutter speeds must be slower than on a sunny day. However, benefits include a lack of harsh shadows from the sun (meaning I could photograph this bird from any angle, instead of with the sun directly behind me), and more saturated colors due to reduced glare. I was very happy to be able to photograph this species in decent conditions. The biggest bonus of course was that I only had to drive half an hour instead of flying to Asia or Europe!

A male common goldeneye attempts to impress a female by lengthening his neck and extending his head. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering +2/3: 1/1600 sec. at f/7.1

Spring is almost here, and with it comes the showmanship and fortitude of male birds courting their females. Especially fun to watch are the common goldeneyes, with their neck stretches, head throws and incessant quacking – all in the pursuit of charming that special someone who, if the performance is good enough, might return the affection. I took all the shots seen here recently at Shoreline Lake in Mountain View, where a multitude of common goldeneye can be seen putting on their show. If you live nearby, I definitely recommend a trip there either in the early morning or late afternoon, when the birds are most active.

The common goldeneye courtship display consists of several different maneuvers. The most common move seems to be the neck stretch, which can be seen in the photo above, and the photo immediately following.

A male common goldeneye courts a female by extending his head out in front of him. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 800. Evaluative metering 0: 1/800 sec. at f/8

If he wants to get a little flashier, he shoots his head straight up with a long neck and lets out a loud quack. Sometimes this first and second move are done in sequence, with the bird first poking his head out in front, and with the neck extended, swiveling it straight up to quack. This usually gets the ladies attention.

Getting a little flashier, he shoots his head straight up with a long neck and lets out a loud quack. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 800. Evaluative metering 0: 1/1000 sec. at f/8

If that doesn’t quite do it, or the goldeneye is feeling particularly frisky, he pulls out the head tuck move. Here he folds himself backward in half, touches his head to his back and lets out a kind of double-quack. It seems as though the first quack actually comes in normal position, followed the the quick head throw and second quack up into the air. This second sound is louder and more drawn out than the first, kind of like putting the accent on the second syllable of a two-syllable word.

Here he touches the back of his head to his back and lets out a kind of double-quack. Sometimes this move is performed at high speed, as the male goes sailing past the female with his beak up in the air. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 800. Evaluative metering 0: 1/800 sec. at f/8

Finally, if nothing else is working, the goldeneye busts out the uber-display. After performing the double-quack with his head tucked against his back, he forcefully kicks both feet backward, splashing water high into the air. I only saw this display a few times by only two birds – each of the other displays were more common.

After performing the double-quack with his head tucked against his back, he forcefully kicks both feet backward, splashing water high into the air. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 800. Evaluative metering 0: 1/1000 sec. at f/8

If all goes well, he finally attracts his mate, who shows the love by mirroring some of his moves. In the following photo, the male is being followed by an interested female.

A male common goldeneye attempts to impress a female by lengthening his neck and extending his head. The female mimics the behavior in reply. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering 0: 1/2400 sec. at f/5.6

Courtship displays of different avian species can be fascinating to watch, and can get quite elaborate. Personally, I think I’ll stick to chocolate and flowers!