Digital imaging and more specifically Adobe Photoshop as well as other image editing software have revolutionized photography. The advances in digital image manipulation now allow for unlimited possibilities in the area of improving photographs through retouching and restoration.
What types of improvements are possible by retouching photographs with Photoshop?
Blemishes
Embarrassing skin blemishes like acne or scars can easily be removed using the retouching tools available in Adobe Photoshop. You can learn these Photoshop techniques in minutes.
Damage to Prints
The benefits of digital imaging for restoring old damaged or worn out photographs are one of the best reasons to learn Photoshop. Once an old photograph is scanned it can be retouched to remove tears in the paper or water marks. You can also restore colors that have faded over time. Once you have retouched your image and it is like new again it will last forward because digital images do not deteriorate over time like prints.
Closed Eyes
This is one of the most common problems with group photographs. You finally got the entire family together for a family photograph including Aunt Martha only to find that she closed her eyes. Closed eyes are not a problem for a skilled user of Photoshop. You can easily open her eyes and no one will ever know.
Removing unwanted Subjects
Not only can you remove blemishes in Adobe Photoshop but another common use of Photoshop’s retouching capabilities involves removing unwanted people or objects. Old boyfriends can be forever removed from photographs quickly and easily if you know what you are doing.
Retouching photographs has never been easier than it is today. Photoshop and other photographic editing software applications have made it a breeze to open closes eyes, remove blemishes and scars, change colors, restore old damaged photographs and remove unwanted objects.
Monday, August 18, 2008
How to Shoot Wildlife Photography
Professional Tips and Techniques
Wildlife subjects can be divided into two categories: wild and under human control. Pursuing both can produce wonderful images. Of course, there's nothing more exciting than capturing a spectacular image of a wild animal in its natural environment, but many times it's not possible to travel to exotic locations or spend days or weeks tracking an animal. What's more, many animals are extremely dangerous. Learn tips on getting great wildlife photos in the following article by professional photographer Jim Zuckerman.
How to Shoot Wildlife Photography: Close-up vs. Environmental
It's not necessarily desirable to always get full-frame head shots of wildlife - you can always take head shots in a zoo. Including the environment along with an animal gives a sense of place, and if the location happens to be spectacular then it becomes an integral part of the composition. Still, the subject should be significant enough in the frame to make a statement.
How to Shoot Wildlife Photography From a Vehicle
In many cases, a vehicle can gain a closer approach to a wild animal than a person can on foot. For example, most wildlife in national parks have grown accustomed to vehicles, and they know there's no threat.
Shooting from a vehicle can be done using a stable platform that attaches firmly to the driver's door when the window is rolled down. (These door mounts are available through various sources.) You can also use a burlap or fabric pouch filled with uncooked rice, beans or coarse sand. This actually is my preferred choice for shooting from a vehicle. I travel with it empty, but when I arrive at the shooting destination I'll fill it.
Finding Wildlife Subjects to Photograph
There are many options for locating wildlife - even if you live in the city. One technique is to try the Internet. For example:
One of my favorite macro subjects is frogs, and specifically poison dart frogs. These are brightly colored frogs that are poisonous in the wild but are not dangerous when they are kept in captivity (because their diet is altered). I especially wanted blue frogs because they are so unique. I did a search on the Internet and found several breeders of these frogs in the U.S., and one of them happened to be only 10 minutes from my home. I called him and made arrangements to photograph many of his creatures in exchange for photos.
How to Shoot Wildlife Photography the Right Way: Keep Things Steady
In addition to doing your wildlife photography in the best light, I strongly suggest using a tripod whenever possible. When photographing with a tripod is not possible, use a bean bag or some other stable support.
Image stabilization lenses, if you can afford them, go a long way to helping wildlife photographers get sharp pictures in low light. They minimize camera movement when you hand hold them, which in turn gives you more flexibility in your shooting. However, I would still recommend a tripod when it's feasible.
Virtually all the images on my Web site, with perhaps five exceptions, were shot using a tripod.
Wildlife subjects can be divided into two categories: wild and under human control. Pursuing both can produce wonderful images. Of course, there's nothing more exciting than capturing a spectacular image of a wild animal in its natural environment, but many times it's not possible to travel to exotic locations or spend days or weeks tracking an animal. What's more, many animals are extremely dangerous. Learn tips on getting great wildlife photos in the following article by professional photographer Jim Zuckerman.
How to Shoot Wildlife Photography: Close-up vs. Environmental
It's not necessarily desirable to always get full-frame head shots of wildlife - you can always take head shots in a zoo. Including the environment along with an animal gives a sense of place, and if the location happens to be spectacular then it becomes an integral part of the composition. Still, the subject should be significant enough in the frame to make a statement.
How to Shoot Wildlife Photography From a Vehicle
In many cases, a vehicle can gain a closer approach to a wild animal than a person can on foot. For example, most wildlife in national parks have grown accustomed to vehicles, and they know there's no threat.
Shooting from a vehicle can be done using a stable platform that attaches firmly to the driver's door when the window is rolled down. (These door mounts are available through various sources.) You can also use a burlap or fabric pouch filled with uncooked rice, beans or coarse sand. This actually is my preferred choice for shooting from a vehicle. I travel with it empty, but when I arrive at the shooting destination I'll fill it.
Finding Wildlife Subjects to Photograph
There are many options for locating wildlife - even if you live in the city. One technique is to try the Internet. For example:
One of my favorite macro subjects is frogs, and specifically poison dart frogs. These are brightly colored frogs that are poisonous in the wild but are not dangerous when they are kept in captivity (because their diet is altered). I especially wanted blue frogs because they are so unique. I did a search on the Internet and found several breeders of these frogs in the U.S., and one of them happened to be only 10 minutes from my home. I called him and made arrangements to photograph many of his creatures in exchange for photos.
How to Shoot Wildlife Photography the Right Way: Keep Things Steady
In addition to doing your wildlife photography in the best light, I strongly suggest using a tripod whenever possible. When photographing with a tripod is not possible, use a bean bag or some other stable support.
Image stabilization lenses, if you can afford them, go a long way to helping wildlife photographers get sharp pictures in low light. They minimize camera movement when you hand hold them, which in turn gives you more flexibility in your shooting. However, I would still recommend a tripod when it's feasible.
Virtually all the images on my Web site, with perhaps five exceptions, were shot using a tripod.
Tuesday, November 13, 2007
Digital Or Film.
Having lost count of the number of people who have asked me: have you gone digital? I am always left wondering why its such a much-asked question. The camera is only a tool in which a photographer creates an image. His personal ability to create a unique image remains the same.
For many forms of photography, digital has long held obvious advantages, but for landscapes the resolution necessary to make larger prints just wasnt available. But things have changed and digital cameras are fast becoming the tools that most pros use.
Modern digital cameras are perfectly capably of matching the 35 mm film - the format which most landscape photographers begin with. But can they really match the large format film cameras? This is probably the greatest question that all photographers face.
Instant LCD feedback is digitals greatest gift and this enables the photographer to check exposure and composition of their image in the blink of an eye. While this is a big advantage, the hours spent in front of the computer processing the raw images have to be a hindrance. A landscape photographers time is best spent behind a camera not in front of a computer.
The pros and cons of digital photography will remain an issue for some time. At the end of the day a digital camera wont make a photographers images better. The same values we apply in our photography should remain regardless of which camera we use.
Good photography remains as elusive and as enticing as it ever was; going digital doesnt change this or make getting good images any easier. It brings technical advantages, and plenty of them, but the majority of photographic techniques never change. Good landscape images come from the photographers personal ability, not the ability of a camera. The camera helps, but the creative eye remains the same.
As a landscape photographer I am still hesitant to embrace digital photography and all the qualities that digital has brought to other professionals in different photography fields.
There are a few simple reasons that I still use a film camera:
The authenticity of my images could be questioned if I used a digital camera. It is often assumed that great digital images have been manipulated.
Too much time is spent in front of a computer.
Slide film produce stronger colours than a digital camera.
There are many advantages for changing to digital but Im going to stick with film; for the time-being that is. With time film cameras will be a thing of the past and all our images will be exchanged for the pixels. But, be wary - believing our work will be superior would be falling into a great trap. For me size matters, the larger I can print an image the better.
For many forms of photography, digital has long held obvious advantages, but for landscapes the resolution necessary to make larger prints just wasnt available. But things have changed and digital cameras are fast becoming the tools that most pros use.
Modern digital cameras are perfectly capably of matching the 35 mm film - the format which most landscape photographers begin with. But can they really match the large format film cameras? This is probably the greatest question that all photographers face.
Instant LCD feedback is digitals greatest gift and this enables the photographer to check exposure and composition of their image in the blink of an eye. While this is a big advantage, the hours spent in front of the computer processing the raw images have to be a hindrance. A landscape photographers time is best spent behind a camera not in front of a computer.
The pros and cons of digital photography will remain an issue for some time. At the end of the day a digital camera wont make a photographers images better. The same values we apply in our photography should remain regardless of which camera we use.
Good photography remains as elusive and as enticing as it ever was; going digital doesnt change this or make getting good images any easier. It brings technical advantages, and plenty of them, but the majority of photographic techniques never change. Good landscape images come from the photographers personal ability, not the ability of a camera. The camera helps, but the creative eye remains the same.
As a landscape photographer I am still hesitant to embrace digital photography and all the qualities that digital has brought to other professionals in different photography fields.
There are a few simple reasons that I still use a film camera:
The authenticity of my images could be questioned if I used a digital camera. It is often assumed that great digital images have been manipulated.
Too much time is spent in front of a computer.
Slide film produce stronger colours than a digital camera.
There are many advantages for changing to digital but Im going to stick with film; for the time-being that is. With time film cameras will be a thing of the past and all our images will be exchanged for the pixels. But, be wary - believing our work will be superior would be falling into a great trap. For me size matters, the larger I can print an image the better.
Friday, July 6, 2007
Group f/64 was a group of photographers espousing a common philosophy. The group was created in 1932. The original membership consisted of:
Ansel Adams
Imogen Cunningham
Willard Van Dyke
John Paul Edwards
Consuelo Kanaga
Alma Lavenson
Preston Holder
Sonia Noskowiak
Henry Swift
Edward Weston
The term f/64 refers to the smallest aperture setting on a large format camera, which secures maximum depth of field, rendering a photograph evenly sharp from foreground to background. Such a small aperture implies a long exposure and the selection of relatively slow moving or motionless subject matter, such as landscapes and still life over action and reportage photography.
This corresponds to the ideal of straight photography which the group espoused in response to the pictorialist methods that were in fashion at the time.
Group f/64 published the following manifesto:
The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
Group f/64 is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.
Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.
The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.
The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern Photography.
Ansel Adams
Imogen Cunningham
Willard Van Dyke
John Paul Edwards
Consuelo Kanaga
Alma Lavenson
Preston Holder
Sonia Noskowiak
Henry Swift
Edward Weston
The term f/64 refers to the smallest aperture setting on a large format camera, which secures maximum depth of field, rendering a photograph evenly sharp from foreground to background. Such a small aperture implies a long exposure and the selection of relatively slow moving or motionless subject matter, such as landscapes and still life over action and reportage photography.
This corresponds to the ideal of straight photography which the group espoused in response to the pictorialist methods that were in fashion at the time.
Group f/64 published the following manifesto:
The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
Group f/64 is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.
Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.
The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.
The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern Photography.
Wednesday, May 16, 2007
how to do Postcard Photography
Postcard photography is the pursuit of the perfect scenic picture. Anyone can do it. I manage to make a living from this but it's really just about being in the right place at the right time.How To Get Clear Pictures
I have been asked many times over the years how I get such deep blue skies and clarity in my pictures.
The answer is simple: I only shoot on exceptionally clear days with great visibility.
For the clearest air, shoot in winter. The views are crisp and sharp and distant mountains are distinct. From February to May, I'm madly visiting all my favorite places, building a year's worth of stock which I'll sell during the rest of the year.
As soon as I arrive at a location, I always check the weather forecast for th
e next few days. I only shoot in good weather. Many times I have stayed in a hotel room for several days before the weather was right.
e next few days. I only shoot in good weather. Many times I have stayed in a hotel room for several days before the weather was right.I spend part of my time on "bad weather" days looking at postcard racks, skimming picture books, and exploring the area. When the weather breaks, I'm ready to get working.
Amateur vs. Professional
The one big difference I've observed between an amateur photographer and a professional is this: when both stop and look at a beautiful scene, the amateur will take one picture and move on while the pro will take many pictures of the same scene at varying times and exposures before moving on.
Of course, the professional has more time available. But the pro knows he or she must get the perfect exposure because their job is riding on it. It's really simple: if a pro doesn't bring back good, usable photography, they won't be asked to shoot again.
Research is key to getting the best shot. Look for a high viewpoint that combines several landmarks in a tight grouping. Plan on spending ample time at your viewpoint, to get the best exposure, light, and composition.
Images That Sell
I usually shoot every good scene in both horizontal and vertical formats. When I first started out, I shot mostly horizontals, and I lost out on a lot of vertical sales. The initial cost of the extra shot is more than offset by the increased sales.Calendar company buyers appreciate photographers who have images representing all four seasons. In putting together their calendars each year, they like to deal with as few photographers as possible.
All the stock agencies that I deal with only want digital images submitted. I shoot now with a Nikon D200 camera, and my library of over 200,000 transparencies awaits to be scanned.
Most clients now want to see only digital images. I still sell a lot of film to my clients even though it's been less and less over the past five years. So there is still some film buyers out there and probably will be for the near future. I used to shoot with medium-format as, it turned out, size does matter! I still shoot film with my Nikon F5 and Hasselblad X-Pan.
Equipment
I've been asked many times by beginning pros if it's necessary to buy expensive (i.e. 'fast') lenses. In the case of landscape photography, I don't think so. Most of your pictures will be taken on a tripod, so a fast lens is not needed. Most of my landscapes are taken at F16, F22, or F32. The only exception is aerial photography where one or two fast lenses can come in handy.
One of the most important items in a photographer's equipment is a tripod. The larger and heavier the camera, the more a tripod is needed. To get great depth-of-field, which is important for landscape photography, a tripod is a "must."
One of the most important items in a photographer's equipment is a tripod. The larger and heavier the camera, the more a tripod is needed. To get great depth-of-field, which is important for landscape photography, a tripod is a "must."
As far as filters go, I use only one -- a polarizer. This is really a great filter and, when used properly, increases the color saturation of all the hues in a scene (not just the blue in the sky, as some people think). I have polarizers for all my lenses and take them off only when they aren't needed.
Favorite CitiesSan Diego is my favorite city to photograph. I find the beauty of the landscape to be mind-boggling, offering so many beautiful and varied places to photograph.
My other favorite cities to photograph are San Francisco, Boston, New Orleans, New York, Chicago, Montreal, and Vancouver. Along with San Diego, each of these areas has an ambiance that makes it unique. I have shot these cities over and over again and still look forward to going back and doing it another time.
Sunday, May 13, 2007
How to Make the Best of a Bad Shooting Situation
How to Make the Best of a Bad Shooting Situation
It was a rainy day in Paris. I was in the City of Lights, along with other members of the international photo press, for the debut of Panasonic's latest cameras. I was shooting with the new $349 (estimated street) Lumix DMC-TZ3, which the manufacturer bills as the perfect traveling companion-- pocket-sized but packing 7.2MP, a 10X zoom that starts at a wide 28mm equivalent, image stabilization, and a 3-inch LCD.
But for all that, it couldn't do anything about the rain. Every shot looked dull; even reflections on the wet pavement fell flat. Bad photos of Paris, it is possible? It seemed so.
Then Jerry Grossman of the trade paper, Photo Industry Reporter, held up the LCD of his camera. He'd taken a few images in Sepia mode, and the pictures looked much better than anything shot in color. There was a mass switch to sepia. Granted, not the most sophisticated solution, but it was an idea that helped turn this photo op around.
It's the kind of situation all of us face with our photography -- the weather, the lighting, or the subject may not be cooperating, or you don't have all the time or gear you'd like, but you still have to get good shots. What do you do? Get creative and find workarounds. Here are some solutions for situations that have the makings of photo disasters.
• The Situation:
You're suddenly appointed the party photographer.
The Problem:
All you have is a digital compact, and the tiny flash won't properly light -- let alone flatter -- the guests. Also, capturing tequila-fired red noses isn't going to get you invited next time.
The Solution:
Shut off the flash and switch to black-and-white mode. Yes, the ISO will go through the roof, but in b&w, the digital noise looks like grain. Sort of arty. And chances are, monochrome will be more flattering to all of the revelers.
• The Situation:
A friend asks for a spur-of-the-moment portrait.
The Problem:
Your subject has horribly blotchy skin.
The Solution:
High key. That is, overexpose the shot to drain the detail out of the skin. Digital cameras not only let you use the LCD to see how much overexposure is needed as you bracket (start at a half-stop and work up), but today's sensors also are very good at holding shadow detail while blowing out the highlights in a shot. Which is exactly what you want.
• The Situation:
Aunt Rhodie cooked a delicious roast goose that everyone wants to remember.
The Problem:
The bird doesn't look as good as you hope it will taste.
The Solution:
Shallow depth of field. Go with the widest aperture you can, and focus on that gorgeous sprig of parsley atop the carcass. That's about all that will be sharp. The rest of the image will have that soft, dreamy look so popular in the food magazines from which Aunt Rhodie gets her recipes.
It was a rainy day in Paris. I was in the City of Lights, along with other members of the international photo press, for the debut of Panasonic's latest cameras. I was shooting with the new $349 (estimated street) Lumix DMC-TZ3, which the manufacturer bills as the perfect traveling companion-- pocket-sized but packing 7.2MP, a 10X zoom that starts at a wide 28mm equivalent, image stabilization, and a 3-inch LCD.
But for all that, it couldn't do anything about the rain. Every shot looked dull; even reflections on the wet pavement fell flat. Bad photos of Paris, it is possible? It seemed so.
Then Jerry Grossman of the trade paper, Photo Industry Reporter, held up the LCD of his camera. He'd taken a few images in Sepia mode, and the pictures looked much better than anything shot in color. There was a mass switch to sepia. Granted, not the most sophisticated solution, but it was an idea that helped turn this photo op around.
It's the kind of situation all of us face with our photography -- the weather, the lighting, or the subject may not be cooperating, or you don't have all the time or gear you'd like, but you still have to get good shots. What do you do? Get creative and find workarounds. Here are some solutions for situations that have the makings of photo disasters.
• The Situation:
You're suddenly appointed the party photographer.
The Problem:
All you have is a digital compact, and the tiny flash won't properly light -- let alone flatter -- the guests. Also, capturing tequila-fired red noses isn't going to get you invited next time.
The Solution:
Shut off the flash and switch to black-and-white mode. Yes, the ISO will go through the roof, but in b&w, the digital noise looks like grain. Sort of arty. And chances are, monochrome will be more flattering to all of the revelers.
• The Situation:
A friend asks for a spur-of-the-moment portrait.
The Problem:
Your subject has horribly blotchy skin.
The Solution:
High key. That is, overexpose the shot to drain the detail out of the skin. Digital cameras not only let you use the LCD to see how much overexposure is needed as you bracket (start at a half-stop and work up), but today's sensors also are very good at holding shadow detail while blowing out the highlights in a shot. Which is exactly what you want.
• The Situation:
Aunt Rhodie cooked a delicious roast goose that everyone wants to remember.
The Problem:
The bird doesn't look as good as you hope it will taste.
The Solution:
Shallow depth of field. Go with the widest aperture you can, and focus on that gorgeous sprig of parsley atop the carcass. That's about all that will be sharp. The rest of the image will have that soft, dreamy look so popular in the food magazines from which Aunt Rhodie gets her recipes.
Thursday, May 10, 2007
Backyard Bird Photography
Bird photography is one of the most challenging types of nature photography. Wild birds are often difficult to approach and they never stay in one place for long. Due to the small size and fast-paced behavior of songbirds, large telephoto lenses are often required, and expensive, fast-focusing camera bodies are usually needed. Fortunately, this is not always the case. Your own backyard can serve as a personal studio in which you can be in control of your subjects and obtain beautiful photos. This is one of the very few situations where eye-catching, close-up bird photography is possible without extravagant photo equipment. The following is a how-to guide to photographing birds in your backyard and these tips will help you achieve bird photos that you have always wanted to get, but never knew how.Setting Up Feeders
The most important consideration in choosing a location for bird feeders is lighting. Most bird photographers choose direct front lighting for shooting their subjects. Birds have lots of color and fine feather detail and direct front lighting shows the beauty of birds in a brilliant manner. The most important thing to remember when considering lighting is to always point your shadow at the bird. This will ensure that your subject is evenly lit with no shadows.
When hanging feeders for bird photography, avoid placing them too close to your house or too close to the edge of the woods. Both these situations can block light and make it difficult to obtain stunning pictures. The best light for bird photography is early in the morning and late in the afternoon. By placing the feeders in an open area, you will have more opportunity with the best light. Be careful not to place the feeders in an area that doesn’t provide enough cover. I place my feeders about 15-20 feet from the edge of a wooded area. This gives the birds a safe area to travel to and from the feeders and provides a nice background in my images.Fewer feeders produce more photo opportunities than many 
feeders. The idea is to create a food source that lots of birds are using. Choose one small feeder per food source. This in essence will create a waiting line for the feeder and force birds to perch and wait. For suet lovers, set up a separate feeding station. Digging a hole in the ground and “planting” a dead, moss-covered tree works very well for woodpeckers and nuthatches. Position the suet on the backside of the tree so it will not be in sight of the camera. Woodpeckers will often pause before and after feeding on suet, thus offering a few additional photo opportunities before departing.
feeders. The idea is to create a food source that lots of birds are using. Choose one small feeder per food source. This in essence will create a waiting line for the feeder and force birds to perch and wait. For suet lovers, set up a separate feeding station. Digging a hole in the ground and “planting” a dead, moss-covered tree works very well for woodpeckers and nuthatches. Position the suet on the backside of the tree so it will not be in sight of the camera. Woodpeckers will often pause before and after feeding on suet, thus offering a few additional photo opportunities before departing.Selecting the Ideal Perch
Perch selection is critical to the natural feel of your photographs. Perches should look natural and not “set-up.” Avoid manmade objects such as processed lumber, metal, or plastic. Instead, walk around your yard and find fallen twigs, small branches, raspberry or rose stalks, or wild plants bearing berries (winterberry holly or bittersweet work well). It’s very important to choose a perch that is natural for the species being photographed. Be very careful when positioning a pruned perch for photography. An obvious snipped or torn branch in a photo is not pleasing to the eye.
Perch selection is critical to the natural feel of your photographs. Perches should look natural and not “set-up.” Avoid manmade objects such as processed lumber, metal, or plastic. Instead, walk around your yard and find fallen twigs, small branches, raspberry or rose stalks, or wild plants bearing berries (winterberry holly or bittersweet work well). It’s very important to choose a perch that is natural for the species being photographed. Be very careful when positioning a pruned perch for photography. An obvious snipped or torn branch in a photo is not pleasing to the eye.
Think about the species that will be using each perch - you do not want to overpower the bird with a perch. For smaller birds, such as chickadees, goldfinches, and titmice, choose a thin perch, perhaps ¼ to ½ an inch in diameter. For larger birds, such as blue jays and cardinals, a perch of ½ to 1 inch in diameter will look pleasing in a photo.Carefully position the perches close to the feeders. Remember, the fewer perches you have, the better. You want to ‘force’ the birds to land on a particular perch. Placing a perch one foot under or next to a feeder will provide suitable waiting space or a jumping-off point to the feeder for a hungry bird. It’s also very important to place the perch at the appropriate angle. A good starting point is to mount the perch vertically and then push it directly away from you at a 45-degree angle. This will ensure a profile of the bird. If you want a head-on shot position the perch at a 45-degree angle horizontal to your position.
Before you start snapping photos of birds, it’s important to look at your perch set-up through the viewfinder. What looks good to your eye may not look good through the camera. As you look through the viewfinder, make sure the background is a pleasing color, the perch is at a good angle, and there are no unwanted objects in the frame. Always keep an eye out for new and interesting perches and replace your perches often. If you use the same perch over and over, all your images will look the same.
Desirable Camera Equipment
Most birds that visit feeding stations are quite tame and will tolerate a human very close to their food source. A lens in the 200-300mm range (especially when combined with a digital camera or teleconverters) can produce frame-filling images with these cooperative subjects. Using a tripod will greatly aide in obtaining sharp images. It will also allow you to set the camera to a certain point on a perch so you will be ready when a bird lands. Always remember to pre-focus on the perch to cut down on the time it takes to obtain focus.
Being comfortable is also important. Sitting low in a lawn chair with your camera set up in front of you decreases your profile substantially and will allow you to photograph for extended periods comfortably. Movement is your biggest foe when it comes to birds. If you’re using a short telephoto lens, a bag blind or some camouflage material draped over yourself is also a good idea.
With a little strategy, backyard bird photography can be very rewarding. It is a unique form of wild bird photography and by following the advice above, you can be on your way to producing appealing, natural looking bird images. Do not be afraid to experiment with different perches and set-ups - the more variety you have with food sources and perches, the more species you will be able to photograph. You will be amazed by the interesting songbird images that you can produce in your own backyard!
With a little strategy, backyard bird photography can be very rewarding. It is a unique form of wild bird photography and by following the advice above, you can be on your way to producing appealing, natural looking bird images. Do not be afraid to experiment with different perches and set-ups - the more variety you have with food sources and perches, the more species you will be able to photograph. You will be amazed by the interesting songbird images that you can produce in your own backyard!
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