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!

California Quail

A California quail stands next to a flowering bush, Arastradero Preserve, Palo Alto, CA
A California quail stands next to a flowering bush, Arastradero Preserve, Palo Alto, CA. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 1600. Evaluative metering +1 2/3 EV: 1/160 sec. at f/5.6

The California quail is a very common bird, but one that is difficult to photograph. I usually only see them scampering from underneath one bush to the next, or flushing from a bush with a great commotion (and giving me a heart attack!) if I approach too closely. If there are other people around making any kind of noise, you can forget about any kind of photo. The only shots I have gotten in the past are of a quail streaking off into the forest.

A couple of weeks ago, I lucked upon one poking around for food on the ground out in the open. It was after sunset, and getting dark quickly. I was alone and trying to move quietly, hoping to see some wildlife before they saw me. When I rounded the corner and saw the quail, my heart skipped a beat and I silently lowered my tripod and prepared my camera.

It is then that I made a classic photographer mistake: I failed to recheck all of my camera settings from my previous shots. I had just been shooting a small song bird on a branch, surrounded by bright white sky. This required an exposure compensation of + 1 2/3 stops, in order to prevent the bird from being rendered as a dark silhouette. As soon as I saw the quail, I readjusted all the other important settings (shutter speed, aperture, ISO) but failed to realize I was over exposing. Luckily the magic of shooting in RAW format saved me, and I was able to recover any blown highlights. However, if I had exposed using a lower compensation (probably +1/3 or +2/3 would have worked here), I could have shot faster than the very slow 1/160 seconds that I used here. Thankfully I had locked down the gimbal head and the quail granted me with a brief over-the-shoulder glance, and I was able to come away with a decent shot.

This shot reaffirmed an old lesson – always know your settings. Sometimes if one setting is off, your images may be ruined, and it is not always immediately apparent from the camera’s LCD. I know wildlife photographers who always reset their cameras to a basic setup whenever they are finished photographing a particular subject. This is especially important in situations with varying light conditions. I know I’ll be following that lesson in the future!

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.

Lazuli Bunting

A lazuli bunting perches on a branch in the sun, singing, Arastradero Preserve, Palo Alto, CA
A lazuli bunting perches on a branch in the sun, singing, Arastradero Preserve, Palo Alto, CA. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering 0 EV: 1/2000 sec. at f/7.1

Last week I spent the evening in Arastradero Preserve in Palo Alto in order to photograph Lazuli Buntings as they returned to the Bay Area for the summer. I hiked for a while through grassy hills spotted with oak trees, past wet marshy areas, and through dark oak woodland, still not seeing any of the buntings. I stopped and played their call on my iPhone. From every direction, dozens of voices answered my call. I then realized that I had been surrounded by buntings all day, I just had not recognized their bird song.

It was as though a veil had been lifted, and I started seeing them everywhere. As the sun started to drop to the west, I saw many buntings move to the treetops, hoping to sing out to the world in those last rays of the day.

A lazuli bunting perches on a branch in the sun, Arastradero Preserve, Palo Alto, CA
A lazuli bunting perches on a branch in the sun, Arastradero Preserve, Palo Alto, CA. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 400. Evaluative metering 0 EV: 1/2000 sec. at f/7.1

By the end of the day, I had my target species in the bag, plus a few other surprises.

Copyright 2017 Hank Christensen