What’s Up?
With the fields down by the lake still flooded, I worked the vulture tree again on Saturday morning and finished working one of the many dependable Sandhill Cranes (from the road that flanks the North Field). The forecast for this morning — Sunday 16 AUGUST 2020 — is for more of the same: partly sunny to partly cloudy with afternoon thunderstorms. I will be headed down to the lake at about 7:00am. I have been noticing some new flowers coming into bloom so I will be getting back to macro soon.
I was able to watch an older Alan Murphy webinar on Friday and have begun implementing a few new things I picked up with my bird photography; no matter how experienced you are, it never hurts to consider new and different viewpoints and approaches … So, what’s the main thing I learned? I realized (again), that there are lots of benefits to thinking and working wider rather than tighter.
I had been enjoying a lovely summer head cold for the past three days but am feeling pretty good this morning.
The Canon 100-400 II and about half of Kay Kaylor’s Canon stuff sold on the first day of listing. In Tuesday’s blog post, I will share what I have learned about the new Canon offerings, the EOS R5 and the EOS R6 along with my thoughts on the two new f/11 super-telephotos lenses. With these two new bodies, the Canon used gear market is rebounding nicely.
Please take a moment and let us know your thoughts on today’s three featured vulture images. Which is your favorite? Why? What do you like or not like about each image?
Bird Photography Tips Part II Webinar with Alan Murphy
To register for Alan’s August 18th webinar, click here or on the image above. Alan’s ability to create surreally perfect set-ups and attract birds into photographic range is remarkable … I will be there and am looking forward to it with anticipation as I am in the process of turning my living room into a bird photography blind!
Those who register are requested to enter “BAA Blog” in the How did you hear about this webinar? box.
The BAA Used Gear Page
The BAA Used Gear Page is the place to sell your used photographic equipment. We will help you to get your gear sold quickly for 20 to 60% more than what the big guys are offering … Doubt me? Check out the Past Sales list at the bottom of the page.
Price Drop
Canon EF 75-300mm f/4-5.6 USM Lens
BIRDS AS ART Record-low Price!
Price Reduced $10.00 on 15 AUG 2020
Long-ago IPT veteran Art Leyenberger is offering a Canon EF 75-300mm f/4-5.6 USM zoom lens in near-mint condition for a BIRDS AS ART record low $89.00 (was $99.00). The sale includes the original box, both lens caps, and insured ground shipping via major courier to lower-48 US addresses only. Your item will not ship until your check clears unless other arrangements are made.
Please contact Art via e-mail or by phone at 973-476-6559 (Eastern time zone).
This compact lens features a versatile 4X telephoto range and a fast, quiet AF motor and is characterized by its light weight. It is well-suited for a variety of subjects, including portraiture, nature, sports, and travel. A Super Spectra coating has been applied to individual elements to reduce lens flare and ghosting in order to achieve high contrast and accurate colors. Additionally, it features a seven-blade diaphragm to produce smooth and pleasing bokeh. It is designed for full-frame Canon EF-mount DSLRs but can also be used with APS-C models where it provides a 120-480mm equivalent focal length range. If you are looking for an inexpensive starter lens for a child or grandchild, you will have struck gold with Art’s 75-300! B&H
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106 sold to rave reviews. The SONY e-Guide by Patrick Sparkman and Arthur Morris |
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Gear Questions and Advice
Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BPN, are–out of ignorance–using the wrong gear especially when it comes to tripods and more especially, tripod heads… Please know that I am always glad to answer your gear questions via e-mail. Those questions might deal with systems, camera bodies, accessories, and/or lens choices and decisions.
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This image was created on Friday 14 August 2020 at Indian Lake Estates. I used the Levered Clamp FlexShooter Pro/Induro/GIT 404L-mounted Sony FE 600mm f/4 GM OSS lens, the Sony FE 1.4x teleconverter, and the blazingly fast AF King, the Sony Alpha a9 II Mirrorless Digital Camera Body. ISO 400. Exposure determined by Zebras with ISO on the rear dial: 1/400 sec. at f/5.6 in Manual mode. The exposure was confirmed as perfect by RawDigger. ABW at 7:31am on a sunny morning. Tracking Flexible Spot (S) Continuous AF was active at the moment of exposure and performed to perfection. Click on the image to see a larger version. Image #1: Turkey Vulture — adult sunning on dead tree above juvenile |
Off to a Good Start
As I pulled up to the vulture tree at the south end of the South Field, there was a Turkey Vulture sunning itself at the very top of the skeleton tree. Not wanting the bird to put its wings down, I made some images from a good distance away. Moving slowly and staying right on sun angle, I was able to get as close as I wanted (having left the 2X TC in my SUV).
Evict the Head?
Would you have eliminated the head of the young Turkey Vulture on the bottom right frame-edge? Why or why not?
Aging Turkey Vultures
The heads of adult TVs are red. The heads of the young birds are grayish pink. You can note that in all three images.
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This image was also created on Friday 14 August 2020 at Indian Lake Estates. Again I used the Levered Clamp FlexShooter Pro/Induro/GIT 404L-mounted Sony FE 600mm f/4 GM OSS lens, the Sony FE 1.4x teleconverter, and the blazingly fast AF King, the Sony Alpha a9 II Mirrorless Digital Camera Body. ISO 800. Exposure determined by Zebras with ISO on the rear dial: 1/500 sec. at f/9 in Manual mode. The exposure was confirmed as perfect by RawDigger. ABW at 7:37am on a sunny morning. Tracking Flexible Spot (S) Continuous AF was active at the moment of exposure and performed to perfection. Image #2: Turkey Vulture — adult sunning on dead tree with adult Black Vulture and juvenile Turkey Vulture |
Backing Up for Vulturine Tree-scapes
Noticing the two vultures perched below the wing-stretcher as well as the colors and textures of the old tree, I backed up about 20 yards, went vertical, and created the first of two vulturine tree-scapes. In situations like this, Tracking Flexible Spot (S) performs remarkably well. For Image #2, I placed the center AF point on the face of the young TV on our right and re-composed to my desired framing. In cases like this where the birds are sedentary, I will move the AF point so that it falls right where I want it, in this case, on the face of the young vulture. That eliminates the need to re-compose.
Question for Bird Photography Experts Only
What was the most challenging part of creating Image #2?
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This image was also created on Friday 14 August 2020 at Indian Lake Estates. For this one I used the Levered Clamp FlexShooter Pro/Induro/GIT 404L-mounted Sony FE 600mm f/4 GM OSS lens, and the blazingly fast AF King, the Sony Alpha a9 II Mirrorless Digital Camera Body. ISO 800. Exposure determined by Zebras with ISO on the rear dial: 1/400 sec. at f/7.1 in Manual mode. The exposure was confirmed as perfect by RawDigger. ABW at 7:51am on a sunny morning. Tracking Flexible Spot (S) Continuous AF was active at the moment of exposure and performed to perfection. Image #3: Adult Black Vulture sunning on dead tree with juvenile Turkey Vulture |
How Did I “Move Back” While Standing in the Exact Same Spot?
Liking the leaves and the moss on the lower right side of the perch, I “moved back” simply by removing the 1.4X TC and putting it in my pocket.
The Lesson
In situations that offer interesting backdrops or perches (the latter as with today’s images), be sure to vary your motifs and image designs by getting closer, moving back, adding or removing a teleconverter, and working both horizontally and vertically.
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Typos
In all blog posts and Bulletins, feel free to e-mail or to leave a comment regarding any typos or errors. Just be right :).
Hy Artie, I like the first and second picture of the vultures. In the first one, I like the way you placed the second head in the frame, its almost on a diagonal line with the head of the adult one and to me it ads a kinda of balance to the frame. Plus the heads sor of face each other.
In the second picture I like their body language, looks like the older one is haranguieng the young ones on some some vulture isues. and I like the tree, its texture and that hanging moss.
Hey Dan,
Thanks. I am enjoying seeing your images on BPN. Keep ’em coming!
with love, artie
Good morning Guru (it’s 8.16 am here). Hope you are doing fine.
Guru, I’ve come across breathtaking shots of the moments Eagles lift a catch or Kingfisher dives and grabs a fish underwater. Have always wondered how those moments were captured on camera!
Could you kindly brief a little about the matter?
Thank you in advance. Best regards.
Usually feeding the eagles and the kingfisher is an aquarium set-up.
with love, artie
Number 2 is my favorite.
Artie,
to get as close as I wanted evening having left the 2X TC in my SUV. Say what? As for the 3 images I agree with Elinor’s comments except that for image 1 I would eliminate the head in the lower right corner. I feel that image 1 would be much stronger without the distraction.
RK,
Thanks for catching my botch-job!
with love, a
Very nice. Like the second image. Getting correct head angles on all three is the key here.
TFS
#2 is great but all of them are fun, interesting, and good!
Interesting post for a variety of reasons as it illustrates an important photographic exercise of the interrelationship between perspective and composition. As Andy and Elinor recognize, #2 is the winner as it provides the best contextual and most interesting composition.
Love #2. Super light, and great poses on the birds. The moss adds interest and balance.
#2 is my favorite by far. It tells a story–adult and 2 young. The tree size and vultures balance. Whereas in #3, to me, the tree feels too big compared to the vultures. The moss hanging down in both #2 & 3 gives a sense of place and of being unique in seeing moss hanging from a dead tree.
#1 I’d keep the head at the lower edge but the composition and story seem confusing. And without the head the photo wouldn’t be as eye-catching as the other two which have more story. To have all heads turned just right makes it for all three.
Funny question, because the answer, as almost always, head angle! Getting 3 subjects to pose together in a technically and pleasing composition makes it easy to discard all the other exposures as merely warm ups to the big win!
Hey Bill, Glad to know that you are still alive and kicking. Leave it to a multiple IPT veteran to nail the perfect answer right out of the box. Much love, artie