Isolating nature

A western bluebird perches in front of a red barn

Living in an urban environment, I am often viewing wild things against a backdrop of non-wild habitats. This is especially true of birds, as they perch on anything convenient – fences, lamp posts, roof tops. A constant challenge is to showcase these wild birds without exposing the urban landscape in which they’re found.

A juvenile red-tailed hawk perches on the top of a metal lamp post
A juvenile red-tailed hawk perches on the top of a metal lamp post

I found this juvenile red-tailed hawk perched at the top of a lamp post, surveying the surrounding grasses for potential prey. He seemed fairly bold (as many juveniles tend to be), and allowed me to approach closely. Several poses later, I wasn’t happy with including this man-made element in my “nature” shot. He’d look much better perched on a scraggly branch of a long-dead tree. But, you must work with what you have. So I tried to move in even closer to eliminate this unnatural element, and create a pleasing head shot of this great bird.

An immature red-tailed hawk looks back over its shoulder
An immature red-tailed hawk looks back over its shoulder

Although this hawk showed no indication of leaving based on my original approach, I still was very slow and methodical about getting closer. The reasoning behind this are twofold. First, I reduce my chances of the hawk getting spooked and leaving. And second (and more important), I don’t stress out the bird, even if he was to remain in place. When approaching any wild animal, always make sure they are comfortable with your presence. If they show signs of stress (with birds, usually a wing flap or calling out), back away!

Eventually, I got close enough to fill the frame with a head and shoulders portrait of the hawk. Composed against blue sky, I’ve successfully removed all man-made elements. The following image shows another technique to eliminate obvious hand-of-man elements, while also using the head shot approach.

A western bluebird perches in front of a red barn
A western bluebird perches in front of a red barn

In this instance, a western bluebird was perching on an ugly fence (covered in bird poop) in front of a red barn. The sun angle required I be facing the barn, thus not being able to avoid including it in my background. Once I had framed the bird however, I used an aperture that reduced the barn to a solid red background. Though not exactly natural, I thought it was quite pleasing.

I moved in close to isolate the bird’s head, and removing the fence. This time the target bird was much smaller than the hawk, and I knew that in order to fill the frame with the bird’s head, I needed to be closer than the minimum focusing distance of my lens. I added an extension tube between the lens and my camera, reducing the minimum focusing distance. Luckily this bird was quite used to people (and was probably expecting to be fed!), allowing me to get close enough.

From the archives: Long-billed Curlew

A long-billed curlew stands in shallow water, reflected in the morning light
A long-billed curlew stands in shallow water, reflected in the morning light. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 1000. Evaluative metering +2/3 EV: 1/320 sec. at f/5.6

I’ve been busy with summer activities, and haven’t had time to process new photos lately. So I thought I’d share one from my archives that I like. Sometimes a very simple portrait composition can work well, especially if the bird has interesting features.

This curlew was standing as still as a statue is calm water. It was a good thing he was still, because the morning was a bit dark – the sun was just starting to rise behind some thick clouds, creating a gloomy morning atmosphere. On darker days, I have to bump up the ISO slightly in order to hold a reasonable shutter speed. In this case 1/320 seconds was fast enough to capture this immobile curlew. If he’d been feeding, it would have been much harder to capture his movements without blurring the photo.

My favorite feature of this photo is that the water was so still that it fades into a solid color abstract, both behind the bird, and around the bird’s reflection. This has the same effect as using a solid color backdrop for a studio portrait – it isolates the subject and removes all extraneous elements from the image. When I see a subject I want to photograph out in nature (be it a bird, sunset, tree or rock), I am constantly thinking about how I can simplify the image. After the initial excitement of a new shot passes, I step back and think, “What is this image all about?” Once I identify the aspects that drew my to that rock or that tree in the first place, I set about trying to remove any elements that don’t support the story I’m trying to tell in the image.

Sometimes, working an area can be difficult and frustrating – after all, nature is never a sterile, controlled environment. Sometimes however, as in the image above, a simplified image is given to me as a gift. I’m never one to complain about those images that come easily!

Turn a head shot into a portrait

A western scrub jay perches in early morning light
A western scrub jay perches in early morning light. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 640. Evaluative metering 0 EV: 1/250 sec. at f/6.3

Recently I was out photographing birds when a western scrub jay landed fairly close to me on a wooden post. Even though this was not a species I was targeting that day, I took advantage of this opportunity, and slowly and quietly swung my lens around to point at the bird. He was so close that his head filled my frame.

I took several tight head shots, and decided I also wanted to capture the entire bird, as I had a great background to work with, and wanted to get as many different types of shots as possible. I used the techniques I described in my thinking digitally post, and took several horizontal slices of the bird, knowing that I could stitch them later.

A western scrub jay perches in early morning light
A western scrub jay perches in early morning light. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 640. Evaluative metering 0 EV: 1/200 sec. at f/6.3

Of course I could have backed up in order to fit the jay’s entire body in the frame, but I didn’t for several reasons. First, I didn’t want to spook the bird by picking up my tripod and walking backward. In this case, the bird came to me, so I hadn’t had to stalk it. Second, being able to stitch multiple frames yields a much larger file size than a single shot, allowing for bigger prints. Finally, being so close to this bird allowed me to capture fine detail in the feathers. If I backed further away, my lens wouldn’t be able to resolve this amount of detail.

Mono Lake Osprey

Clutching the remains of a fish he caught, an osprey takes off out of a nest after he delievered dinner to his nesting mate, Mono Lake, CA
Clutching the remains of a fish he caught, an osprey takes off out of a nest after he delivered dinner to his nesting mate, Mono Lake, CA. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 1600. Evaluative metering 0 EV: 1/320 sec. at f/5.6

Last week I took a photography trip to the eastern Sierra to capture some spring time action over there. I went with a photographer friend to the south end of Mono Lake in hopes of a great sunset. Unfortunately, the skies were clear and the light was flat. Instead of a lasting sunset glow, it was as if someone just turned out the lights.

Fortunately, there were two pairs of osprey nesting near the shore in large nests built on top of two tufa towers. Just before dusk, the males came in close to the nests with fresh-caught fish. We had a brief show during which they perched on nearby tufa towers, enjoying their dinner, before they returned to the nests to deliver what was left to their respective mates.

An osprey clutches the remains of a fish in its talon as it perches on top of a tufa tower, Mono Lake, CA
An osprey clutches the remains of a fish in its talon as it perches on top of a tufa tower, Mono Lake, CA

During this time, the sun set and the light left. However, just before it got completely dark, I managed to get a shot of one of the males leaving the nest with the rest of the fish dinner. Because the sun was well over the horizon, it back lit the birds. I knew I could not get enough detail on the birds, so I underexposed and went with a full silhouette, emphasizing the graphical shape of the osprey taking off.

Copyright 2017 Hank Christensen