Arthur Morris/BIRDS AS ART

Sony a-1 II Pre-order Info Updated

Those who wish to receive my Sony a-1 II settings for free in the form of a CAMSET.DAT file with instructions and an explanatory Buttons and Dials Guide should pre-order from one of my affiliate programs as below.

To pre-order your Sony a-1 II from B&H, you must use this link and only this link at or after 9:30am Eastern time today, 20 November 2024:

Sony a-1 II

Once your camera ships, you must send me your B&H receipt to me via e-mail.

If you were on the B&H please-notify-me list and order using a link that they sent you, I will not receive the credit and you will not receive my camera set-up guide information for free.

Those who prefer more personalized service, a far shorter wait list, enjoy free second day air FedEx, and receive 3% back on their credit card when their a1 II ships should to visit the Bedford website here, at or after 9:30am today, search for the Sony a-1 II, pre-order they camera body, and enter the BIRDSASART discount. There is no need to e-mail Steve Elkins.

Thanks to those who pre-order using one of my affiliate links and for the faith they place in the information provided by BIRDS AS ART.

What’s Up?

Monday morning was Day-1 at Sebastian with Steve Shore and his lovely wife Elisabeth (say “eh-LEASE-uh-bet”). We had lots of cooperative subjects down by the gentle surf including Great and Snowy Egrets and lots of Wood Storks. It was a cloudy morning with a bit of a west breeze that turned to the north as the morning wore on. Though conditions were less than ideal for fishing and catching Ospreys, everyone managed a few good flight shots. All in all it was a perfect morning for teaching.

The highlight of our afternoon was the Sabine’s Gull. We all got some nice top shots as it came down to fish and Mr. Eastman got some decent images of one in flight with a Mullet in its bill.

In today’s blog post we will take a look at what you can do with properly exposed to the right raw files made on cloudy days. Yes boys and girls, they should look washed out and over-exposed. There was not however, a single over-exposed pixel in any of today’s featured images. Remember that the histograms on your camera, in Lightroom and Photoshop, and in Photo Mechanic, all mislead photographers as they are based on the embedded JPEGs. Only RawDigger can accurately evaluate the exposure of a raw file. Sorry Charlie; that’s the way it is.

The Ospreys were fishing and catching on Tuesday morning. With the clouds and a south wind Steve and Elisabeth Shore, Bob Eastman, and I did not leave the inlet until after 11:00am. What fun.

Image 1: The Photo Mechanic screen capture for the Brown Pelican ready to dive — pano crop image

Blah

The best word to describe the color and contrast of this properly exposed to the right raw file would be “blah.” With the bird at the bottom of the frame and too much boring sky above, the need for a pano crop was obvious. Bringing such images to life is actually straightforward.

This image was created on 6 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. Standing in the water at the Northwest Pool, This image was also created on 16 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. I used the Robus RC-5570 Vantage Series 3 Carbon Fiber Tripod/Levered-Clamp FlexShooter Pro-mounted Sony FE 600mm f/4 GM OSS lens and The One, the Sony Alpha 1 Mirrorless Digital Camera). The exposure was determined via Zebra technology with ISO on the thumb dial. ISO 1600. 1/3200 sec. at f/4 (wide open) in Manual mode. When evaluated in RawDigger, the raw file brightness was determined to be dead solid perfect. AWB at 8:02:47am on a cloudy morning. Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Be sure to click on the image to enjoy a high-res version. Image 1A: The Brown Pelican ready to dive — pano crop

The Basic Workflow Plus Some Color Mixer Work

I followed my basic workflow as detailed in both Digital Basics II and the the Digital Basics III Video Series Volume I. This improved both the color and the contrast and then some judicious Color Mixer work really popped the pelican. Easy peasy.

Image #2A: The Photo Mechanic screen capture for the Osprey overhead with Yellow-tailed Menhaden

Overhead and Hazy

I was near the end of the South Jetty. I looked up and saw an Osprey right over my head carrying a fish. I raised my lens as fast as possible and fired off a handful of frames. In two out of three keepers, I clipped a wing slightly. Note that all of the data is piled up on the far right side of the histogram.

This image was created on 15 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. Standing near the end of the South Jetty, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 1.4x Teleconverter, and The One, the Sony a1 Mirrorless Camera. The exposure was determined via Zebra technology with ISO on the thumb dial. ISO 1600. 1/3200 sec. at f/4 (wide open) in Manual mode. When evaluated in RawDigger, the raw file brightness was determined to be dead solid perfect. AWB at 9:45:00am on a cloudy, heavily overcast morning. Zone/AF-C with Bird Face/Eye detection enabled performed to perfection. Be sure to click on the image to enjoy the high-res version. Image #2A: Osprey overhead with Yellow-tailed Menhaden

The Successful Image Optimization

All that I did was set the white point and the black point, adjust a few more sliders, do a bit of Color Mixer work, add my double noise reduction technique, and voila: Photoshop magic!

Image #3A: The Photo Mechanic screen capture for the Sanderling beach-scape image

Washed Out and Boring

Understand that your properly exposed to the right raw files made one cloudy days should look flat and washed out. Doing so produces raw files with little ISO noise that enable you to increase the contrast and reveal clean, rich colors during the image optimization. As below, those steps are simple as can be.

This image was created on 17 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. Standing near the base of the South Jetty, I used the hand held Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 223mm) and The One, the Sony Alpha 1 Mirrorless digital camera. ) The exposure was determined via Zebra technology with Exposure Compensation on the thumb dial. Shutter Priority +1.7 stops. AUTO ISO set ISO 800: 1/13 sec. at f/6.3 (wide open). AWB at 6:35:06am on a cloudy morning. RawDigger showed the exposure to be dead solid perfect. Tracking (lower center) Expand Spot AF-C with Bird Face/Eye Detection performed perfectly. Be sure to click on the image to enjoy a high-res version. Image #3A: Sanderling beach-scape

Simple as Can Be

Nearly all of the incredible color and contrast work on today’s three featured images was done during the raw conversion in Adobe Camera Raw (ACR). ACR is the conversion engine in both Photoshop and in Lightroom. Learn the steps in either Digital Basics II or the Digital Basics III Video Series/Volume I.

The BIRDS AS ART Current Workflow e-Guide (Digital Basics II). You can order your copy from the BAA Online Store here, by sending a PayPal for $40 here, or by calling Jim or Jennifer weekdays at 863-692-0906 with your credit card in hand. Be sure to specify Digital Basics II.

The BIRDS AS ART Current Workflow e-Guide (Digital Basics II)

The techniques mentioned above and tons more great Photoshop tips and techniques — along with my complete digital workflow, Digital Eye Doctor Techniques, and all my personalized Keyboard Shortcuts — are covered in detail in the BIRDS AS ART Current Workflow e-Guide (Digital Basics II), an instructional PDF that is sent via e-mail. Note: folks working on a PC and/or those who do not want to miss anything Photoshop may wish to purchase the original Digital Basics along with DB II while saving $15 by clicking here to buy the DB Bundle.

Please note: the Divide and Conquer technique was inadvertently omitted from DB II. It is detailed in a free excerpt in the blog post here.

Folks who learn well by following along rather than by reading can check out the complete collection of MP 4 Photoshop Tutorial Videos by clicking here. Note: most of the videos are now priced at an amazingly low $5.00 each.

You can learn how and why I converted all of my Canon digital RAW files in DPP 4 in the DPP 4 RAW Conversion Guide here. More recently, I became proficient at converting my Nikon RAW (NEF) files in Adobe Camera Raw. About three years ago I began converting my Nikon and Sony RAW files in Capture One and did that for two years. You can learn more about Capture One in the Capture One Pro 12 Simplified MP4 Video here. The next step would be to get a copy of Arash Hazeghi’s “The Nikon Photographers’ Guide to Phase One Capture One Pro e-Guide” in the blog post here. Today, I convert my Sony raw files in Photoshop with Adobe Camera Raw.

You can learn advanced Quick Masking and advanced Layer Masking techniques in APTATS I & II. You can save $15 by purchasing the pair.

The Digital Basics III Video Series

The Digital Basics III Video Series

I realized more than a year ago that my digital workflow had changed significantly and was toying with the idea of writing a Digital Basics III. More recently, I learned and begun working with two great new Photoshop Tools, the Remove Tool and the Luminance Targeted Adjustment Tool. The former is like a smarter Spot Healing Brush Tool on steroids and the latter is a step up from the fabulous Color Mixer Tool. During that same time frame, I came up with a new and improved 2-step noise reduction technique. I still use Divide and Conquer, Quick Masks, Layer Masks, an expanded array of personalized keyboard shortcuts, and tons of other stuff from both versions of Digital Basics.

As soon as I realized that I did not want to take on another large writing project, I realized that by creating a series of videos I could much more easily share all the details of my current digital workflow and much more easily incorporate additional new tips, techniques, and tools as I went. And so, The Digital Basics III Video Series was born.

The videos will be most valuable for folks using the latest version of Photoshop (2024) or Lightroom along with Topaz DeNoise AI and Topaz Sharpen AI.

Typos

With all blog posts, feel free to e-mail or to leave a comment regarding any typos or errors.

What’s Up?

On Saturday, multiple IPT veteran Sandra Calderbank joined Bob Eastman and me for a morning of instruction at Sebastian Inlet. Following the #1 rule for wind against sun conditions, we arrived very early to be in position to work the sunrise. Here is how I helped Sandy set up for Shutter Priority with AUTO ISO with her v 2.02 firmware a-1:

1- Turn the ISO down one click past 50 to AUTO. (We both normally use the Thumb Dial for ISO when shooting in Manual mode.)

2- Move the Command Dial (if that’s what they call it) to “S” for Shutter Priority. Set a slow shutter speed for pre-dawn blurs, something in the neighborhood of 1/10 to 1/60 second.

3- In Custom Key/Dial Set assign Exposure Compensation to the Thumb Wheel. Turn the Thumb Wheel clockwise to add light, usually to between +1 to +2 1/3 stops depending on the tonality of the background.

When the sun comes out, you will want to get back to Manual mode with ISO on the Thumb Dial. Simply reverse the steps:

1- In Custom Key/Dial Set assign ISO to the Thumb Wheel.

2- Move the Command Dial (if that’s what they call it), to “m” for Manual mode.

3- Set the ISO (and the shutter speed and aperture) as usual and as needed.

It should be relatively easy to set up any Canon or Nikon camera to do the same thing:

1- Set the ISO to AUTO.

2- Assign Exposure Compensation to a convenient dial or wheel.

3- Set Shutter Priority.

To get back to manual mode, just reverse the steps.

We had a very nice sunrise. We struggled with the wind against sun conditions for the rest of the morning. While picking my keepers, I was pleasantly astounded by how many good images I had created on a day when conditions were far from ideal. Six of those images are shared with you in today’s post along with more than a few helpful lessons.

On Sunday morning, Bob and I enjoyed a spectacular sunrise. Bob worked almost exclusively on the beach with his 16-35 Sony lens. Working mostly with slow shutter speeds in Shutter Priority with AUTO ISO, I concentrated on the large Sanderling flock that fed along the shore and occasionally blasted off out over the waves. They put on an amazing show.

The morning turned crazy (again) with dozens of pelicans and ospreys diving on baitfish. With the NNE wind in our face, the birds were all flying away from us. We ventured out on the jetty, got drenched by waves, and in short order, left the jetty in fear of the waves breaking over it. Wet and shivering, we headed back to our AirBnB a few minutes after 8:00am!

Today is Monday 18 November 2024. I am looking forward to working with Steve Shore (again) and meeting and working with his wife Elisabeth for the first time. They flew from Dallas to Orlando and arrived at the AirBnB at about 7:30 last night.

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This image was created on 16 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. Standing on the beach at high tide, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 1.4x Teleconverter, and The One, the Sony a1 Mirrorless Camera. The exposure was determined via Zebra technology with Exposure Compensation on the thumb dial. Shutter Priority -0.3 stops. AUTO ISO set ISO 100: 1/10 sec. at f/20 (stopped down 3 2/3 stops). AWB at 6:46:02am on a party cloudy morning just after sunrise. RawDigger showed the exposure to be dead solid perfect. Tracking Zone/AF-C with Bird Face/Eye detection enabled performed to perfection. Be sure to click on the image to enjoy the high-res version. Image #1: Sunrise sky/Atlantic Ocean abstract

Un-Intentional Camera Movement Images

The term ICM (Intentional Camera Movement) has always bugged me. Why? It is possible to create pleasing blurs when you are (or are attempting to) keep the camera still. And you can create some nice blurs with the lens on a tripod and the subject or subjects moving be they avian or liquid. I was set up in Shutter Priority Mode with AUTO ISO looking to create some flight or wave blurs. When the sun peeked through an opening in the dark clouds, I forget to increase the shutter speed. I made a single frame at 1/10 second and then switched to 1/250 second and created some sharp versions. Note that with a sliver of red sky against an otherwise dark sky I needed a bit of minus Exposure Compensation (rather than my usual +2.0 EC).

The raw file was properly exposed but needed some TLC during the image optimization to bring out the potential I saw. When trying to create pleasingly blurred images, happy accidents are very rare but always welcome.

This image was also created on 16 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. Seated on the beach at high tide, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 1.4x Teleconverter, and The One, the Sony a1 Mirrorless Camera. The exposure was determined via Zebra technology with Exposure Compensation on the thumb dial. Shutter Priority -1.7 stops. AUTO ISO set ISO 100: 1/250 sec. at f/9 (stopped down 1 1/3 stops). AWB at 6:50:12am on a party cloudy morning just after sunrise. RawDigger showed the exposure to be dead solid perfect. Tracking Zone/AF-C with Bird Face/Eye detection enabled performed to perfection. Be sure to click on the image to enjoy the high-res version. Image #2: Reddish Egret on berm

Dealing With Wind Against Sun Conditions: Get Up Early!

The first rule of dealing with wind against sun conditions at beaches and lakes is to arrive early to take advantage of possible silhouette/backlit situations. With a west wind in the morning the birds will be flying toward you and away from the rising sun. Minutes after creating Image #1, this Reddish Egret landed on the berm so Sandy and I sat so that we could include the sky. The -1.3 stops EC is due to the fact that the raw file was a vertical that included the sun in the frame. Thus, after cropping this one to a horizontal I needed to open up the dark tones in Photoshop.

This image was also created on 16 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. Standing at the base of the South Jetty I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x teleconverter (at 600mm), and The One, the Sony Alpha 1 Mirrorless Digital Camera). The exposure was determined via Zebra technology with ISO on the thumb dial. ISO 1250. 1/2000 sec. at f/5.6 (wide open) in Manual mode. When evaluated in RawDigger, the raw file exposure was determined to be dead-solid perfect. AWB at 7:19:11am on a then mostly sunny morning. Tracking: lower center Zone AF-C with Bird Face/Eye detection enabled performed perfectly even at 1200mm. Be sure to click on the image to enjoy a high-res version. Image #3: Sanderling flock backlit blast-off

Dealing With Wind Against Sun Conditions: Use the Strong Backlight

We were at the base of the South Jetty attempting to photograph some low-in-the-sky Royal Terns before they turned left and away from us into the NE wind. I fanned on one good diving chance and then turned around to look south. I adjusted my shutter speed to get a few blinkies on the breaking waves and said to Sandy, “I hope they blast off.” Five seconds later, they did.

The key to the success of this image was moving the zone brackets to the bottom of the frame so that focus would be on the birds at the bottom of the frame that were closest to me.

This image was also created on 16 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. I used the Robus RC-5570 Vantage Series 3 Carbon Fiber Tripod/Levered-Clamp FlexShooter Pro-mounted Sony FE 600mm f/4 GM OSS lens, the Sony FE 2.0x Teleconverter, and The One, the Sony Alpha 1 Mirrorless Digital Camera). The exposure was determined via Zebra technology with ISO on the thumb dial. ISO 1600. 1/3200 sec. at f/8 (wide open) in Manual mode. When evaluated in RawDigger, the raw file brightness was determined to be dead solid perfect. AWB at 8:01:56am on a mostly sunny morning. Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Be sure to click on the image to enjoy a high-res version. Image #4: Osprey flying away with pinfish in its talons

Dealing With Wind Against Sun Conditions: Experiment

The sun came out for a while. The Ospreys were kiting on the far side of the inlet, facing away from us, and catching an occasional fish. So, I figured what the heck and put the 2X TC on the 600. With the wind then from the north, the only thing available was the butt shot. Sometimes, they can work well. With the spread tail and the wings symmetrical, I like this particular butt shot. Go figure.

This image was also created on 16 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. Again I used the Robus RC-5570 Vantage Series 3 Carbon Fiber Tripod/Levered-Clamp FlexShooter Pro-mounted Sony FE 600mm f/4 GM OSS lens, the Sony FE 2.0x Teleconverter, and The One, the Sony Alpha 1 Mirrorless Digital Camera). The exposure was determined via Zebra technology with ISO on the thumb dial. ISO 2500. 1/4000 sec. at f/8 (wide open) in Manual mode. When evaluated in RawDigger, the raw file brightness was determined to be perfect. AWB at 8:14:30am on a then partly cloudy morning. Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Be sure to click on the image to enjoy a high-res version. Image #5: Osprey kiting

Dealing With Wind Against Sun Conditions: Pray for Clouds

A large cloud covered the sun for a few moments and the wind shifted to the east for just a bit. Long enough for me to increase my exposure and get on an Osprey to my left that was more or less facing me. I was quite amazed by the sharpness at 1200mm.

This image was also created on 16 November 2024 on the Sebastian Inlet Ospreys and More Extended IPT. Again I used the Robus RC-5570 Vantage Series 3 Carbon Fiber Tripod/Levered-Clamp FlexShooter Pro-mounted Sony FE 600mm f/4 GM OSS lens, the Sony FE 2.0x Teleconverter, and The One, the Sony Alpha 1 Mirrorless Digital Camera). The exposure was determined via Zebra technology with ISO on the thumb dial. ISO 640. 1/2000 sec. at f/8 (wide open) in Manual mode. When evaluated in RawDigger, the raw file brightness was determined to be perfect. AWB at 8:50:48 am on a then cloudy/very bright morning. Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Be sure to click on the image to enjoy a high-res version. Image #6: Osprey in flight with fish/silhouette

Dealing With Wind Against Sun Conditions: Think Way Out of the Box

We drove across the bridge to the Northwest Pool in hopes of getting an Osprey flying east with a fish in its talons. No luck there. Still with the 2X on the 600, I thought that I might have a chance of creating a late morning silhouette against the now cloudy very bright skies. The problem was that the entire inlet walkway north of the bridge is closed for nine months for the renovation of the North Jetty. The only option was to set up just north of the bridge and shoot over the chain link fence. As soon as I got set up and adjusted the exposure, an Osprey with a fish flew up to my right. I made three good frames on this pass. I called Bob and Sandy over but that was the last of it.

Some days everything seems to go right, even in lousy conditions.

Typos

With all blog posts, feel free to e-mail or to leave a comment regarding any typos or errors.