Arthur Morris/BIRDS AS ART

Your Call?

Which of today’s four featured La Jolla images is your favorite? Why?

Sony a-1 “System Error” Inquiry

If you own a Sony a-1 body and, after updating the firmware on your body, the camera showed “system error” and/or became inoperable and you sent it in to Sony and were charged an expensive repair fee, please send me all relevant details (the e-mails to and from Sony) via e-mail.

The Perfect Bird Photograph Teaching Laboratory

It would be hard to design or even to imagine a better place to learn and improve your bird photography than San Diego, California. On a BIRDS AS ART Instructional Photo-Tour (IPT), you will get to photograph a wide variety of species. While the pelicans, cormorants, gulls, and ducks are the stars of the show, we should and will also have some great chances with shorebirds, terns, and two species of hummingbirds. Songbirds like Orange-crowned Warbler and Song Sparrow are likely as well. With rare exception, the weather is usually excellent for bird photography in winter. There is tons of flight photography. No matter your longest lens or the camera system you use, there will be plenty of opportunities for you on a BIRDS AS ART Instructional Photo-Tour (IPT). A 600mm f/4 lens is not a requirement. If you need extra help or wish to maximize your travel dollars, you can arrive early or stay on for a few days or even a week.

San Diego offers an incredible variety of attractive avian subjects, including and especially the Pacific race of Brown Pelican. Clockwise from top left back to center: juvenile and sub-adult Brown Pelicans; Heermann’s Gull; Western Gull; Allen’s Hummingbird; Brandt’s Cormorant; Gadwall hen; Wood Duck drake; Willet; Brown Pelican tight flight. Click on the composite to enjoy a larger version.

The 2026 San Diego Brown Pelicans (and more!) IPTs

San Diego IPT #1: 4 1/2 DAYS: THURS 8 JAN thru the morning session on MON 12 JAN 2026: $2599.00. Deposit: $699.00. Limit: 6 photographers.

San Diego IPT #2: 4 1/2 DAYS: FRI 16 JAN thru the morning session on TUES 20 JAN 2026: $2599.00. Limit: 6 photographers.

Morning BAA In-the-Field Instructional Sessions (ITFIS) followed by brunch and an Image Review & Photoshop session: $449.00/per session

Available dates: JAN 14 & 15, 2026. Please get in touch with questions or to register with an e-mail to samandmayasgrandpa@att.net and please shoot me a text to 863-221-2372.

AirBnB accommodations and ground transport with the leader are available for both IPTs and for In the Field Instructional Sessions on a first come, first served basis. Please e-mail for details and information on personalized pre- and post-IPT morning sessions.

Join me in San Diego to photograph the spectacular breeding plumage Brown Pelicans with their fire-engine red and olive green bill pouches; Brandt’s (nesting) and Double-crested Cormorants; breeding plumage Wood and Ring-necked Ducks; other duck species possible including Lesser Scaup, Redhead, Northern Shoveler and Surf Scoter; a variety of gulls including Western, California, and the gorgeous Heermann’s, all in full breeding plumage; shorebirds including Marbled Godwit, Willet, Sanderling and Black-bellied Plover; many others are possible including Least, Western, and Spotted Sandpiper, Whimbrel, Black and Ruddy Turnstone, Semipalmated Plover, and Surfbird; Harbor Seals and California Sea Lions (both depending on the current regulations and restrictions). And as you can see by studying the IPT cards, there are some nice bird-scape and landscape opportunities as well. Not to mention a ton of excellent flight photography opportunities and instruction.

Please note: where permitted and on occasion, ducks and gulls may be attracted (or re-located) with offerings of grains or healthy bread.

San Diego offers a wealth of very attractive natural history subjects, including and especially the Pacific race of California Brown Pelican. With annual visits spanning more than four decades, I have lots of photographic experience there … Click on the composite to enjoy a larger version.

Learning Exposure, Whether You Like It Or Not

Whether you like it or not, we will be beating the subject of exposure like a dead horse. In every new situation, you will hear my thoughts on exposure along with my thoughts on both Nikon and Canon histograms and SONY Zebras. Whether you like it or not, you will learn to work in manual mode so that you can get the right exposure every time (as long as a bird gives you ten seconds with the light constant). Or two seconds with SONY zebras … And you will learn what to do when the light is changing constantly. What you learn about exposure will be one of the great takeaways on every IPT.

Though the pelicans will be the stars of the show on this IPT, there will be many other handsome and captivating subjects in wonderful settings. Click on the composite to enjoy a larger version.

It Ain’t Just Pelicans

With gorgeous subjects just sitting there waiting to have their pictures taken, photographing the pelicans on the cliffs is about as easy as nature photography gets. With the winds from the east almost every morning, there is usually some excellent flight photography, at times with 70-200mm lenses! And the pelicans are almost always doing something interesting: preening, scratching, bill pouch cleaning, or squabbling. And then there are those crazy head throws that are thought to be a form of intra-flock communication. You will be guided as to how to make the best of those opportunities. Depending on the weather, the local conditions, and the tides, there are a variety of other fabulous photo chances available in and around San Diego. Each IPT will include one or two duck sessions.

Did I mention that there are lots of great birds and natural history subjects in San Diego in winter? Click on the composite to enjoy a larger version.

The San Diego Details

These IPTs will include four or five 3-hour morning photo sessions, three or four 1 1/2-hour afternoon photo sessions, and three or four working brunches that will include image review and Photoshop sessions. On rare cloudy days, we may — at the leader’s discretion, stay out in the morning for a long session and skip that afternoon shoot. To ensure early starts, breakfasts will be your responsibility. And so that we can get some sleep, dinners will be on your own as well. In the extremely unlikely event that Goldfish Point is closed due to local ordinance (or whimsy) — that has never happened in the past fifty years, I will of course do my very best to maximize our photographic opportunities.

San Diego offers a wealth of very attractive natural history subjects, including and especially the Pacific race of California Brown Pelican. With annual visits spanning more than four decades, I have lots of photographic experience there. Click on the composite to enjoy a larger version.

Deposit Info

A $699 deposit is required to hold your slot for one of the 2026 San Diego IPT. You can send a check (made out to “BIRDS AS ART”) to us here: BIRDS AS ART, PO Box 7245, Indian Lake Estates, FL, 33855, or call Jim or Jennifer at the office with a credit card at 863-692-0906. Your balance, payable only by check, is due three months before the trip.

Variety is surely the spice of life in San Diego. Click on the composite to enjoy a larger version.

Getting Up Early and Staying Out Late

On all BIRDS AS ART IPTS including and especially the San Diego IPT, we get into the field early to take advantage of unique and often spectacular lighting conditions and we stay out late to maximize the chances of killer light and glorious sunset silhouette situations. We often arrive at the cliffs a full hour before anyone else shows up to check out the landscape and seascape opportunities.

San Diego offers an incredible variety of attractive avian subjects, including and especially the Pacific race of Brown Pelican. Clockwise from top left back to center: juvenile and sub-adult Brown Pelicans; Heermann’s Gull; Western Gull; Allen’s Hummingbird; Brandt’s Cormorant; Gadwall hen; Wood Duck drake; Willet; Brown Pelican tight flight. Click on the composite to enjoy a larger version.

The 2026 San Diego Brown Pelicans (and more!) IPTs

San Diego IPT #1: 4 1/2 DAYS: THURS 8 JAN thru the morning session on MON 12 JAN 2026: $2599.00. Deposit: $699.00. Limit: 6 photographers.

San Diego IPT #2: 4 1/2 DAYS: FRI 16 JAN thru the morning session on TUES 20 JAN 2026: $2599.00. Limit: 6 photographers.

Morning BAA In-the-Field Instructional Sessions (ITFIS) followed by brunch and an Image Review & Photoshop session: $449.00/per session

Available dates: JAN 14 & 15, 2026. Please get in touch with questions or to register with an e-mail to samandmayasgrandpa@att.net and please shoot me a text to 863-221-2372.

AirBnB accommodations and ground transport with the leader are available for both IPTs and for In the Field Instructional Sessions on a first come, first served basis. Please e-mail for details and information on personalized pre- and post-IPT morning sessions.

Join me in San Diego to photograph the spectacular breeding plumage Brown Pelicans with their fire-engine red and olive green bill pouches; Brandt’s (nesting) and Double-crested Cormorants; breeding plumage Wood and Ring-necked Ducks; other duck species possible including Lesser Scaup, Redhead, Northern Shoveler and Surf Scoter; a variety of gulls including Western, California, and the gorgeous Heermann’s, all in full breeding plumage; shorebirds including Marbled Godwit, Willet, Sanderling and Black-bellied Plover; many others are possible including Least, Western, and Spotted Sandpiper, Whimbrel, Black and Ruddy Turnstone, Semipalmated Plover, and Surfbird; Harbor Seals and California Sea Lions (both depending on the current regulations and restrictions). And as you can see by studying the IPT cards, there are some nice bird-scape and landscape opportunities as well. Not to mention a ton of excellent flight photography opportunities and instruction.

Please note: where permitted and on occasion, ducks and gulls may be attracted (or re-located) with offerings of grains or healthy bread.

San Diego offers a wealth of very attractive natural history subjects, including and especially the Pacific race of California Brown Pelican. With annual visits spanning more than four decades, I have lots of photographic experience there … Click on the composite to enjoy a larger version.

Learning Exposure, Whether You Like It Or Not

Whether you like it or not, we will be beating the subject of exposure like a dead horse. In every new situation, you will hear my thoughts on exposure along with my thoughts on both Nikon and Canon histograms and SONY Zebras. Whether you like it or not, you will learn to work in manual mode so that you can get the right exposure every time (as long as a bird gives you ten seconds with the light constant). Or two seconds with SONY zebras … And you will learn what to do when the light is changing constantly. What you learn about exposure will be one of the great takeaways on every IPT.

Though the pelicans will be the stars of the show on this IPT, there will be many other handsome and captivating subjects in wonderful settings. Click on the composite to enjoy a larger version.

It Ain’t Just Pelicans

With gorgeous subjects just sitting there waiting to have their pictures taken, photographing the pelicans on the cliffs is about as easy as nature photography gets. With the winds from the east almost every morning, there is usually some excellent flight photography, at times with 70-200mm lenses! And the pelicans are almost always doing something interesting: preening, scratching, bill pouch cleaning, or squabbling. And then there are those crazy head throws that are thought to be a form of intra-flock communication. You will be guided as to how to make the best of those opportunities. Depending on the weather, the local conditions, and the tides, there are a variety of other fabulous photo chances available in and around San Diego. Each IPT will include one or two duck sessions.

Did I mention that there are lots of great birds and natural history subjects in San Diego in winter? Click on the composite to enjoy a larger version.

The San Diego Details

These IPTs will include four or five 3-hour morning photo sessions, three or four 1 1/2-hour afternoon photo sessions, and three or four working brunches that will include image review and Photoshop sessions. On rare cloudy days, we may — at the leader’s discretion, stay out in the morning for a long session and skip that afternoon shoot. To ensure early starts, breakfasts will be your responsibility. And so that we can get some sleep, dinners will be on your own as well. In the extremely unlikely event that Goldfish Point is closed due to local ordinance (or whimsy) — that has never happened in the past fifty years, I will of course do my very best to maximize our photographic opportunities.

San Diego offers a wealth of very attractive natural history subjects, including and especially the Pacific race of California Brown Pelican. With annual visits spanning more than four decades, I have lots of photographic experience there. Click on the composite to enjoy a larger version.

Deposit Info

A $699 deposit is required to hold your slot for one of the 2024 San Diego IPT. You can send a check (made out to “BIRDS AS ART”) to us here: BIRDS AS ART, PO Box 7245, Indian Lake Estates, FL, 33855, or call Jim or Jennifer at the office with a credit card at 863-692-0906. Your balance, payable only by check, is due three months before the trip.

Variety is surely the spice of life in San Diego. Click on the composite to enjoy a larger version.

Getting Up Early and Staying Out Late

On all BIRDS AS ART IPTS including and especially the San Diego IPT, we get into the field early to take advantage of unique and often spectacular lighting conditions and we stay out late to maximize the chances of killer light and glorious sunset silhouette situations. We often arrive at the cliffs a full hour before anyone else shows up to check out the landscape and seascape opportunities.

This image was created by yours truly on 19 January 2025 on a San Diego Extended Instructional IPT. While seated on a sandstone cliff, I used the knee–pod technique with the handheld Sony FE 400mm f/2.8 GM OSS Lens with the Sony FE 1.4x Teleconverter and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined via Zebras with ISO on the thumb dial. ISO 800: 1/10,000 sec. at f/4 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 9:56:29m on a mostly sunny morning. Wide/AF-C with Bird Eye/Face Detection enabled performed adequately. Click on the image to see a larger, sharper high resolution version Image #1: Brown Pelican Pacific race breeding plumage adult Image copyright 2025 Arthur Morris/BIRDS AS ART

The Star of the Show

Breeding plumage adult Pacfic-race Brown Pelicans just might be my all-time favorite subjects. The color scheme is amazing and they are usually very tame once the sun gets up a bit. You will have countless chances to work them and refine and improve your image design skills.

While seated on a sandstone cliff, I used the knee–pod technique with the handheld, I used the handheld Sony FE 400mm f/2.8 GM OSS lens with the Sony FE 1.4x Teleconverter and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined via Zebras with ISO on the thumb dial. ISO 1000: 1/2500 sec. at f/4 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 9:50:40 a on then mostly cloudy morning. Wide/AF-C with Bird Eye/Face Detection enabled performed adequately. Click on the image to see a larger, sharper high resolution version Image #2: Brown Pelican Pacific race subadult Image copyright 2025 Arthur Morris/BIRDS AS ART

Plumage Variety

There are about a zillion pelican plumages ranging from fresh juveniles to breeding plumage adults with many stages in between. I find it fascinating to study and compare the numerous variations. With their brown juvenile wing feathers and mostly red adult-like bill pouches I call the birds like the one in Image #2 “chocolate covered cherries.”

This image was created by yours truly on 16 January 2025 on a San Diego Extended Instructional IPT. Standing at full height, I used the used the handheld Sony FE 70-200mm f/2.8 GM OSS II Lens (at 136mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined via Zebras with ISO on the Thumb Wheel. ISO 500: 1/320 sec. at f/2.8 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 8:40:41am in the shade. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #3: Brandt’s Cormorant on nest yawning Image copyright 2025: Arthur Morris/birds as Art

Easy Peasy

With the birds just scant yards away, on of the 70-200 f/2.8 lenses is ideal for photographing at the Brandt’s Cormorant nesting shelf. And with the right conditions, flight photography is just about child’s play. With the birds and nests in the shade, you will learn to be on your toes when it comes to getting the right exposure.

This image was created on 29 January 2025 by yours truly on a San Diego Extended Instructional IPT. Standing at full height, I used the handheld Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony a-1 (now replaced by the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera). The exposure was determined using Zebra technology with ISO on the thumb wheel. ISO 800: 1/3200 sec. at f/5.6 (wide open). RawDigger showed that the exposure was dead solid perfect: AWB at 8:39:37am on a mostly sunny morning. Wide/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #4: Heermann’s Gull braking to land Image copyright 2025: Arthur Morris/BIRDS AS ART

Learning About Wind, Sun, and Sky Conditions for Flight Photography (and for General Bird Photography as Well)

San Diego is the ideal location to learn how the wind, the sky conditions, and the direction and quality of light impact bird photography. And the lessons that you will learn travel well — you will be able to apply them either close to home or whenever you travel. Winds from the east and northeast are prevalent in the mornings at La Jolla — both are excellent for flight photography.

Sony 400mm f/2.8 GM OSS Lens with Extras!

BIRDS AS ART Record Low Price (by far!)

IPT veteran Stan Driscoll is offering a Sony 400mm f/2.8 GM OSS Lens in near-mint to like-new condition for the BAA record low price of $8798.00. The sale includes the rear lens cap, the lens strap, the lens trunk, the matching LensCoat, the 3.39 inch long 400mm Zemlin One Piece Lens Hood, the Zemlin Lens Cap, and insured ground shipping via major courier to lower-48 US addresses only.

Your new gear will not be shipped until your check clears unless other arrangements are made. Photos are available upon request by e-mail (as below).

Please contact Stan via e-mail or by phone at (910) 409-2362 (Eastern time).

I purchased my Sony 400mm f/2.8 three years ago to complement my 600mm f/4. Stan is selling his and downsizing to the 300mm f/2.8 GM because he is not getting any younger. Somewhat strangely, it is far easier for me to handhold the 4 ounces lighter, much smaller, and better balanced 400 f/2.8 than it is to handhold the 600mm f/4. The 400 f/2.8 is superb for large mammals and for flight with or without the 1.4X teleconverter. Being able to handhold this lens is a huge plus. That said, I use it a lot on the monopod for low light flight photography. And no matter the conditions, you can’t beat the f/2.8 Bokeh!

The Sony 400mm f/2.8 lens sells new right now for $12,998.00 at B&H and there are used copies in lesser condition there going for as high as $10657.95. Save an amazing $4,200.00 by grabbing Stan’s might-as-well-be-new 400mm GM lens. artie

Typos

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

Your Call?

Please take a moment to let us know which of today’s images is your favorite. Or just say “Hi.” At this point, I am not at all sure how many folks are receiving the Newsletter post notifications (other than those on my personal sending list).

What’s Up?

Today is Misha’s last morning. Multiple IPT veteran Jim Dolgin will be joining us this morning as he noted the favorable weather forecast for today, Monday 27 October 2025. I have a full month to go 🙂 Whatever you do, consider choosing to have fun.

If an item — a Delkin flash card, or a Levered-clamp FlexShooter Pro head — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedfords by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Supporting My Efforts Here

If you enjoy and learn from the blog, are all set for gear, or live overseas, consider leaving a BAA Blog Thank You Gift here.

If you enjoy and learn from the blog, please consider using one of my affiliate links when purchasing new gear. It will never cost you a single penny. To support my effort here, please order from B&H by beginning your search here. Or, click here, to order from Bedfords and enter the discount code BIRDSASART at checkout to receive 3% cash back to your credit card and enjoy free Second-Day Air Fed-Ex shipping. It is always best to write for advice via e-mail.

In many cases, I can help you save some serious dollars. And/or prevent you from purchasing the wrong gear from the wrong shop.

If an item — a Delkin flash card, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedfords by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Sony 400mm f/2.8 GM OSS Lens with Extras!

BIRDS AS ART Record Low Price (by far!)

IPT veteran Stan Driscoll is offering a Sony 400mm f/2.8 GM OSS Lens in near-mint to like-new condition for the BAA record low price of $8798.00. The sale includes the rear lens cap, the lens strap, the lens trunk, the matching LensCoat, the 3.39 inch long 400mm Zemlin One Piece Lens Hood, the Zemlin Lens Cap, and insured ground shipping via major courier to lower-48 US addresses only.

Your new gear will not be shipped until your check clears unless other arrangements are made. Photos are available upon request by e-mail (as below).

Please contact Stan via e-mail or by phone at (910) 409-2362 (Eastern time).

I purchased my Sony 400mm f/2.8 three years ago to complement my 600mm f/4. Stan is selling his and downsizing to the 300mm f/2.8 GM because he is not getting any younger. Somewhat strangely, it is far easier for me to handhold the 4 ounces lighter, much smaller, and better balanced 400 f/2.8 than it is to handhold the 600mm f/4. The 400 f/2.8 is superb for large mammals and for flight with or without the 1.4X teleconverter. Being able to handhold this lens is a huge plus. That said, I use it a lot on the monopod for low light flight photography. And no matter the conditions, you can’t beat the f/2.8 Bokeh!

The Sony 400mm f/2.8 lens sells new right now for $12,998.00 at B&H and there are used copies in lesser condition there going for as high as $10657.95. Save an amazing $4,200.00 by grabbing Stan’s might-as-well-be-new 400mm GM lens. artie

i-Phone Photo by Misha Voison Image #1: Two-Gun Pete with the wind at his back Image copyright 2025: Arthur Morris/BIRDS AS ART

Two-Gun Pete

In my younger days, I usually headed out with two rigs, one on a tripod and the other on my shoulder. I have not done that much recently in the past few years.

For the past three mornings, however, I have headed out to the South Jetty with the 600mm f/4 lens with a 1.X TC on the tripod (Image #8) and the 300mm f/2.8 GM lens on my shoulder via a Black Rapid Curve Breathe Strap. (Thus the “Two-Gun Pete” reference.) Anyhoo, as things developed, I wound up using the 300mm f/2.8 GM alone, with the 1.4X TC (Image #9), or with the Sony FE 2X teleconverter (Images 3-7 and #9) most of the time. The Sony 300mm f/2.8 is an extremely versatile lens and is the lightest in its class by a mile.

This image was created on 24 October 2025 by yours truly while leading a Sebastian Inlet Ospreys and More Extended IPT. Seated on damp sand, I used the handheld Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony a-1 (now replaced by the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera). The exposure was determined using Zebra technology with ISO on the thumb wheel. ISO 320: 1/20,000 sec. (!) at f/5.6 (wide open). RawDigger showed that the exposure was dead solid perfect plus a bit: AWB at 8:30:41 am on a mostly sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #2: Willet strongly backlit Image copyright 2025: Arthur Morris/BIRDS AS ART

Backlit Blasting Highlights

With a shutter speed of 1/20,000 second at only ISO 320 it is hard for most folks to understand how the raw file could have been a bit over-exposed. Why? You are pretty much attempting to photograph the sun as it is reflected off the Atlantic. I saw Misha photographing this cooperative, strongly backlit Willet and decided to get down on the ground and make a few myself. I wound up working the bird for more than 20 minutes. The optimization of this raw file will be detailed in Volume III of the Digital Basics IV Video Series.

For years I have been urging all serious photographers to study and master the section on Exposure Theory in the original soft cover The Art of Bird Photography so that they have an understanding of what their camera’s metering system is doing and so that when they face an extremely difficult exposure challenge they at least have a clue as to where to begin. While reviewing Misha’s images from the first few days I realized that without Zebra technology his exposures were all over the place. Some were three stops underexposed while others were two stops too dark. On Saturday evening we had a long, heart to heart, no holds barred conversation about exposure. Though he had made a good exposure with one of his backlit Willet images, he was basically guessing when it came to getting a useable exposure.

He did far better on Sunday especially when working in the low light when the clouds were covering the sun. He made some stunning and properly exposed Osprey photos that I will be sharing with you on the blog soon. Here, briefly, are two of the huge concepts that he had been missing:

On sunny days, your camera’s meter will be fairly accurate, usually from -1/3 to +1 stop of a good exposure.

On cloudy days, your camera’s meter will be totally stupid. For light-toned scenes, you will need to add nearly two and sometimes two or more stops of light.

He has promised to go home and study and master the section on Exposure Theory in the original soft cover The Art of Bird Photography. Please note: Thought Misha owns well in excess of $30,000 worth of Canon RF gear, probably closer to if not more than $40,000, he has never taken the time to gain a basic understanding of Exposure Theory. Not to mention that he has taken many workshops with supposedly top notch bird photography instructors.

Important Fact: Simply owning camera gear worth five or ten or fifteen thousand dollars or more, often well more than that, does not enable you to become a skilled bird photographer. Study and hard work are needed. The best way to learn the basics quickly is to join me on a BIRDS AS ART Instructional Photo-Tour.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (OCT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

This image was created on 24 October 2025 by yours truly while leading a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the thumb wheel. ISO 1000: 1/4,000 sec. at f/5.6 (wide open). RawDigger showed that the exposure was dead solid perfect: AWB at 9:10:14am on a variably sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #3: Osprey juvenile tight flight Image copyright 2025: Arthur Morris/BIRDS AS ART

Too Tight Flight?

Though I was wishing that I had the 1.4X TC in place rather than the 2X, I quite like Image #3 for the exquisite underwing detail. Had I been at 420mm rather than 600mm I might have been able to fit the whole in the frame when this handsome young raptor flew by overhead at close range.

This image was created on 25 October 2025 by yours truly while leading a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the thumb wheel. ISO 1250: 1/4,000 sec. at f/5.6 (wide open). RawDigger showed that the exposure was perfect: AWB at 9:14:38am on a variably sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #4: Osprey juvenile emerging with Yellowfin Menhaden Image copyright 2025: Arthur Morris/BIRDS AS ART

Emerging

This frame was made as the Osprey struggled to lift off with its catch. The water is in close proximity so that there are lots of details in the waves. Compare this image with the next one and note the difference.

This image was also created on 25 October 2025 by yours truly while leading a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the thumb wheel. ISO 1250: 1/4,000 sec. at f/5.6 (wide open). RawDigger showed that the exposure was perfect: AWB at 9:14:45am on a variably sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #5: Osprey juvenile with Yellowfin Menhaden gaining altitude Image copyright 2025: Arthur Morris/BIRDS AS ART

Gaining Altitude

Image #5 was created about seven seconds after #4. I was lucky that the bird turned to its right (to the south) after it had gained several feet of elevation. Note the huge difference in the backgrounds of the two photos. This one, #5, has a much smoother background because the surface of the water was much farther behind the subject; the distance from the Osprey to the background increased as the bird gained altitude.

This image (a huge crop) was also created on 25 October 2025 by yours truly while leading a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the thumb wheel. ISO 1000: 1/5,000 sec. at f/5.6 (wide open). RawDigger showed that the exposure was dead solid perfect: AWB at 9:26:33am on a variably sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #6: Mullet in Osprey’s talons Image copyright 2025: Arthur Morris/BIRDS AS ART

More Fun With a Huge Crop

When the Osprey’s wing position is lousy but the fish position is perfect, I have begun executing huge crops of the fish in an Osprey’s talons. I especially enjoy working on the tones, color, and contrast of the fish. This is something that I may tend to ignore when optimizing the whole frame.

This image was also created on 25 October 2025 by yours truly on a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the thumb wheel. ISO 1000: 1/5,000 sec. at f/5.6 (wide open). RawDigger showed that the exposure was dead solid perfect: AWB at 9:26:33am on a variably sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #7: Non-breeding adult Laughing Gull in flight (with no tail!) Image copyright 2025: Arthur Morris/BIRDS AS ART

Tail-less in Sebastian

Adapted From AI Overview

Gulls can fly without tail feathers, but poorly. Their tail feathers act as a rudder for steering and balance, so losing them significantly impacts their ability to maneuver and control their flight. They can still fly in short bursts. Without them, their flight is less accurate and efficient.

A gull may lose its tail feathers through a defense mechanism called “fright molt,” where it intentionally sheds them to escape a predator. They can also lose them to predators or during a normal molt. If the tail feathers (rectrices) were pulled out, they will usually grow back in a couple of weeks. If the feathers were broken, the gull will have to wait for its next molt.

Note: this bird was flying rather strongly over the inlet.

This image was created on 26 October 2025 by yours truly on a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, 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 with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 2500: 1/2500 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was dead solid perfect. AWB at 8:43:06am on a then rainy morning. Wide/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #8: Osprey in flight during rain squall Image copyright 2025 Arthur Morris/BIRDS AS ART

Venting 🙂

The wind has been pretty much from the east for the past three days. Misha has been stunned to see that nobody but the two of us has ventured out to the end of the South Jetty so that we have the wind and the sun behind us with the birds flying toward us. I have not been at all surprised. Even more comical was that when a brief squall came by, every single photographer (but for Misha and me), ran back to their cars. If you have your back to the wind and keep your rig in front of you, your handheld camera is protected from the rain. Misha had a formal raincoat for his tripod-mounted 600 while I simply put a woolen watch cap over my camera body. Though it rained for less than two minutes, none of the other shooters made their way back to the jetty for more than a half an hour.

I made Image #8 when it was raining the hardest. Having the far jetty rocks in the frame accentuated the raindrops.

This image was also created on 26 October 2025 by yours truly on a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, 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 Sony a-1 (now replaced by the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera). Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 3200: 1/2000 sec. at f/4 (wide open) in Manual mode. RawDigger showed that the exposure was dead solid perfect: AWB at 8:54:39am on a then cloudy morning. Wide/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #9: Osprey taking flight after a dive and a miss Image copyright 2025: Arthur Morris/BIRDS AS ART

Thrilled and Not Thrilled

When this Osprey dove into the water just yards from us, I was thrilled at how close the bird was to us and by the fact that I had been at 420mm with “only” the 1.4X TC in place. If I had been at 600mm with the 2X TC in place I would have been dead in the proverbial water.

I was not thrilled when the bird came up empty.

Misha made several fabulous images of this event with his handheld Canon RF 400mm lens. I am proud to say that after our Saturday evening discussion, all of them were exposed perfectly to the right!

For those who did not use my link to purchase their Sony 300mm f/2.8 GM lens, you can order your a copy here for $209.93. Click on the image to enlarge and to be able to read the fine print.

The BAA Sony 300mm f/2.8 Lens Guide

Impressed by my Sony FE 300mm f/2.8 GM OSS Lens (Sony E) images? Use either my Bedfords or B&H affiliate link to purchase your Sony 300mm f/2.8 GM lens and shoot me your receipt via e-mail and request a copy of the first-ever BAA Lens Guide. I thought that it would take only minutes to create this guide, but I was dead wrong. In the process of creating it, I learned a ton about the lens. And even better, I discovered a simple yet potentially fatal flaw that was resulting in sporadically unsharp flight images. The set-up fix is simple. Just be sure to use one of my affiliate links and get the guide for free.

If not, you can purchase a copy here for $209.93. Yes, it never hurts to use my links and it never costs you one penny more. And if you contact me via e-mail before you make a major purchase, I can often save you some money.

Typos

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

Please Note

The success of both Red Stevens and of Eugen Dolan is due in part to the fact that both decided to invest in an a-1 ii body. In addition, my guidance, coaching, and in-the-field instruction has helped a bit.

What’s Up?

Today is Wednesday 22 October 2025. Despite zero wind and few birds, Misha, Eugen, and I had a fine morning at Sebastian. Working with mid-range telephoto zoom lenses we created lots of wave blurs and cloudscapes. We shot the tame turnstones with what we brought to the dance and had some nice backlit chances on Reddish Egret and Great Blue Heron. On the way home we stopped at a small roadside park in Wabassa and worked a very tame Great Egret.

We will be headed out at about 4pm to my favorite afternoon spot now that the tide will be low enough for a productive visit. Whatever you choose to do, I hope that you too have a happy and productive day.

If you would like to join in the fun and learn an absolute ton, I have room at the AirBnB for you on the Sebastian Extended IPT any time from 24 October through and including 23 November. For complete details you can scroll down here, get in touch via e-mail, or try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

If an item — a Delkin flash card or reader, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate or low foot — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match or beat any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedford by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Gear Questions and Advice

Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BirdPhotographer’s.Net, are — out of ignorance — using the wrong gear, especially when it comes to tripods and more especially, tripod heads. And the same is true in spades when ordering new camera bodies or lenses. My advice will often save you some serious money and may help you avoid making a seriously bad choice. Please know that I am always glad to answer your gear questions via e-mail. If you are desperate, you can try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (OCT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

This image was created by yours truly on 16 October 2025 at Sebastian Inlet State Park while leading BIRDS AS ART Extended Instructional Photo-Tour. Standing at full height, I used Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 600mm) and The Latest Greatest Flagship Body, the Sony a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +1.0 stops. AUTO ISO set ISO 500: 1/2500 second at f/6.3 (wide open) in Shutter Priority mode. RawDigger showed that the exposure was perfect. AWB at 6:47:10pm on a partly cloudy afternoon. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #1: Royal Tern sunset silhouette bird/cloud-scape Image copyright 2025: Arthur Morris/birds as Art

Note

The Point Color Supersaturated Colors Fix that is detailed only in Volume II of the Digital Basics IV Video Series was used to salvage the bright sky on the left frame edge as the very first step of the raw conversion for Image #1.

Silhouette Flight Recipe

Whether or not you have some color in the sky, this technique can work stunningly well with bright backlight conditions especially when the wind is blowing at the sun.

#1: Go to Shutter Priority mode with AUTO ISO and Exposure Compensation (EC) assigned to a convenient dial,

#2: Set a fast shutter speed. How fast depends on the situation:

a- With very bright backlight go with 1/3200, 1/4000, 1/5000, or even faster.
b- With less light, try a shutter speed of from 1/2500 sec. down to as slow as 1/1000 sec. (if you are desperate).
c- Set the Exposure Compensation to +1 stop and season to taste. With experience, you will learn to adjust the EC on the fly as the background tonality changes.

#3: In low light situations, this technique works equally well when the goal is to create pleasingly blurred images that imply motion.

#4:For sharp silhouettes, look for birds flying below the sun and above the earth. Unless the sun is well muted, including it in the frame will ruin the image.

This image was created by Eugen Dolan on 16 October 2025 at Sebastian Inlet State Park on a BIRDS AS ART Extended Instructional Photo-Tour (IPT). Standing at full height, he used Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 600mm) and The Latest Greatest Flagship Body, the Sony a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +1.0 stops. AUTO ISO set ISO 250: 1/4000 second at f/6.3 (wide open) in Shutter Priority mode. RawDigger showed that the exposure was perfect. AWB at 6:38:14pm on a partly cloudy afternoon. Tracking: Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #1: Royal Tern sunset silhouette Image courtesy of and copyright 2025: Eugen Dolan Image optimization by Arthur Morris/birds as Art

Sony a-1 and a-1 ii Shutter Priority Feature

With the original Sony a-1, it was a royal pain to get into Shutter Priority mode with AUTO ISO and with Exposure Compensation (EC) on the thumb wheel. This problem was eliminated by a clever Firmware Update more than a year ago. Fortunately, the improved menu feature that allows for this was included on the a-1 ii. Huge thanks again to Bob Eastman for alerting me to this development. Detailed instructions are included my Info and Updates e-mails for both my a-1 and the a-1 ii groups.

This image was created on 16 October 2025 by Alvin “Red” Stevens of Birmingham, AL on a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, he used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +1.0 stops. AUTO ISO set ISO 1250: 1/2500 second at f/5.6 (wide open) in Shutter Priority mode. RawDigger showed that the exposure was perfect: AWB at 6:45:10pm on a partly cloudy afternoon. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #3: Laughing Gull — sunset silhouette Image courtesy of and copyright 2025: Red Stevens Image optimization by Arthur Morris/BIRDS AS ART

On Saving a Bit of ISO

Note that with this image Red properly dropped his shutter speed from 1/4000 sec. to 1/2500 sec. to save two clicks of ISO. It is proper to do the exact same thing when working in manual mode and creating sharp images. Red’s ability to create sharp images from day one of his bird photography career was remarkable.

Learn to deal with oversaturated colors in your raw files (along with my complete digital workflow) in Volume II of the DB IV Video Series. Click on the screen capture to enlarge the composite and check out the often problematic colors clockwise from top left: yellow/orange; pink; orange; orange and yellow; carmine (a vivid red with a hint of purple); and bright yellow. The Digital Basics IV Video Series/Volume II by Arthur Morris/BIRDS AS ART You can purchase Volume II alone (59 minutes, 41 seconds) for $49.00 by clicking here. Or save $50.00 by purchasing the entire 5 volumes series by clicking here.

Digital Basics IV Video Series/Volume II

The main thrust of Volume II of the Digital Basics IV Video Series explains in detail how to handle images where some bright colors like reds, oranges, and yellows, show as over-exposed as soon as you hold down the Alt or Option key and move the Whites slider to the right in Adobe Camera Raw. This is a commonly encountered problem for folks using Adobe Camera Raw either in Photoshop or Lightroom. The simple solution is to use the Point Color eyedropper the moment you encounter super-saturated colors in images right out of the camera. Raw files from all of the major dSLR and Mirrorless camera manufacturers will exhibit this problem. Depending on the system that you use, you may find that the certain colors are more problematic in one system than in another. Huge thanks to Anita North; working together, we came up with the Point Color Supersaturated Colors Fix.

Eat of the six image optimizations takes you through my complete basic workflow that remains much the same as is detailed in both DB II and in the DB III Video Series. The steps include:

1- Setting the Color Temperature (when and if needed).
2- Setting the White and Black Points and adjusting the Highlights and Shadows sliders.
3- Setting the Clarity and Dehaze sliders.
4- Fine-tuning color using the Hue/Saturation/Luminance Targeted Adjustment Tool, a huge step up from the Color Mixer Tool.
5- My 2-step noise reduction technique (now only with higher ISO images).

Once I have the .TIF file in Photoshop, I still use my usual cadre of clean-up tools and techniques including the Remove Tool, the Clone Stamp (only rarely), Divide and Conquer, Quick Masking, Layer Masking, Gaussian Blurs, an expanded array of personalized keyboard shortcuts, and tons of other image optimization strategies and methods adapted from previous versions of Digital Basics. I also demonstrate the selective use of Topaz Sharpen AI utilizing the masking feature. And last but not least, I share my JPEG creation methodology.

You can purchase Volume II alone (59 minutes, 41 seconds) for $49.00 by clicking here. Or save $50.00 by purchasing the entire 5 volumes series by clicking here.

Volume III will detail the use of the Masking Features in Adobe Camera Raw and touch on the new Super Resolution feature in Photoshop 2025 v26.20.0.

Click on the screen capture to enlarge and check out the amazing noise reduction with this ISO 16000 image. The Digital Basics IV Video Series/Volume I by Arthur Morris/Birds as Art You can purchase Volume I for $49.00 by clicking here. Or save $50.00 by purchasing the entire 5 volumes series by clicking here.

Digital Basics IV Video Series/Volume I

Learn lots more about Volume I and check out the amazing high ISO images in the blog post here.

DB IV/Volume I eliminates the confusion that resulted from the changes to AI Noise Reduction (under the Details tab) in the latest update (17.5) to Adobe Camera Raw (in both Photoshop 2025 Release 26.10.0 and the latest version of Lightroom). As you will see below and in the Volume I video, the new interface represents a significant improvement on the results obtained with the Enhance dialogue box in previous versions of ACR. And, as mentioned here recently, I have some fabulous new image optimization tips, techniques, and tricks to share with you. As the Digital Basics III Video Series proved to be so popular, I have decided to run it back in the form of the Digital Basics IV Video Series (Those who have complete faith in the information that I provide may wish to use the preceding link to save $50.00 by ordering the whole series on a pre-publication basis; you will receive Volume I as soon as you order. The rest will follow upon publication.

My new workflow includes the use of the masking feature in Adobe Camera Raw (thanks to Anita North), the use of the Point Color eye dropper to tame super-saturated colors during raw conversions (discovered in tandem with Anita), a fabulous new Remove Tool trick that makes my favorite Photoshop Tool even more powerful than before -— that one discovered by me. In addition, I have recently begun doing some Curves work during my ACR raw conversions.

As noted above, my basic workflow remains much the same as is detailed in both DB II and in the DB III Video Series:

1- Setting the Color Temperature (when and if needed).
2- Setting the White and Black Points and adjusting the Highlights and Shadows sliders.
3- Setting the Clarity and Dehaze sliders.
4- Fine-tuning color using the Hue/Saturation/Luminance Targeted Adjustment Tool, a huge step up from the Color Mixer Tool.
5- My 2-step noise reduction technique (with most images).

Once I have the .TIF file in Photoshop, I still use my usual cadre of clean-up tools and techniques including the Remove Tool, the Clone Stamp (only rarely), Divide and Conquer, Quick Masking, Layer Masking, Gaussian Blurs, an expanded array of personalized keyboard shortcuts, and tons of other image optimization strategies and methods adapted from previous versions of Digital Basics. I also demonstrate the selective use of Topaz Sharpen AI utilizing the masking feature. And last but not least, I share my JPEG creation methodology.

Volume I of Digital Basics IV details the image optimizations of six images. Most everything above but for the use of the Point Color eye dropper to tame super-saturated colors during raw conversions is at least touched upon in Volume I. Most of it is covered in great detail.

You can purchase your copy of this 1 hour, two minute video for $49.00 here in the BAA Online Store. There will be five volumes in DB IV each featuring 5 or 6 complete image optimizations. If you purchase the first four volumes, you will receive the fifth volume for free.

Or, you can save $50.00 by purchasing all five volumes now for only $146.00 by clicking here. I will try to complete Volume III in November as I will have a few days off here and there next week.

Canon EF 500mm f/4L IS USM Super-Telephoto lens (the “old five”) with many Extras!

Price reduced $300.00 on 21 October 2025

Avian audio recording expert Lang Elliott is offering a used Canon 500mm f/4L IS USM super-telephoto lens (the “old five”) in very good plus condition plus a ton of extras for a ridiculously low $1699.00 (was $1999.00). Included are a 1.4X III TC in near-excellent condition, a 2X II TC in near-excellent condition, the front leather lens cover, the lens trunk — sorry, no key), the rear lens cap, the original drop-in clear filter, a drop-in circular polarizing filter, a drop-in screw filter (with three ND lenses to choose from), and insured ground shipping via major courier to lower 48 US addresses only. Your items will not ship until your check clears unless other arrangements are made.

Please contact Lang via e-mail.

I owned, used, and traveled with “the old five” for many years back when I was a Canon Explorer of Light, one of the original 55. It was and is much lighter than all but the most recent versions of theCanon 600mm f/4IS lenses (and a lot smaller as well) and thus is a lot easier to travel with. It is a sharp lens and does just fine with either TC. With so many extras, Lang’s lens is an absolute steal. It does quite well with any of the high end Canon mirrorless camera bodies (with one of the RF to EF adapters). artie

Composite #1: All with the a-1 ii Mirrorless Camera body. Images copyright Arthur Morris/BIRDS AS ART

The a-1 ii for General Bird Photography

I have found that eye-tracking for general bird photography with the a-1 ii is far, far better than with the original Sony a-1. It grabs the eye and tracks it faster and far more consistently and focus is rarely lost, even with backgrounds other than sky.

Composite #2: All with the a-1 ii Mirrorless Camera body. Images copyright Arthur Morris/BIRDS AS ART

The a-1 ii for Birds in Flight

For birds in flight, the a-1 ii Mirrorless Camera body has no equal. As Arash Hazeghi says, “It is better than the a-1.” When I am late getting on a bird in flight, I have consistently been amazed at how often the AF system of the a-1 ii finds and tracks the bird’s eye.

Composite #3: All the result of using Pre-Capture with the a-1 ii Mirrorless Camera body. Images copyright Arthur Morris/BIRDS AS ART

Pre-Capture with the Sony a-1 ii

When it comes to Pre-Capture with the a-1 ii Mirrorless Camera body, Arash and I agree 100%. And with my slower reflexes, Pre-Capture is more important for me than it is for Arash. Understand that in each of the images in Composite #3, I did not push the shutter button until after the bird took flight!

All with the a-1 ii Mirrorless Camera body. Images copyright Arthur Morris/BIRDS AS ART

Purchasing or Upgrading to a Sony a-1 ii

The Sony a-1 ii e-Mail Set-up and Info Guide

I now own and use two Sony a-1 ii bodies. Every day that I use them, the more I am amazed by speed and accuracy of the Bird Face-Eye tracking in AF-C and the overall performance of the camera.

Aside from the improved ergonomics as compared to the a-1, other nice features include the fact that the rear screen tilts both ways — the lack of a tilting rear screen on the original a-1 always ticked me off. Pre-capture has proven to be a huge plus almost exclusively for take-off flight images. In my opinion, the Speed Boost feature is a total waste for bird photography because you should always be utilizing the maximum frame rate. In addition, the resolution on the rear monitor has been improved dramatically. I must mention again that Bird Face-Eye tracking on the a-1 ii is vastly improved as compared to both the a-1 and the a9 iii and that the 51MP files are to die for.

So, the big question is, is the a-1 ii “worth” a gear upgrade. Remembering that I can never know whether or not something is worth it to you, I can say that I was not floored when first using my a-1 ii. The differences between the a-1 ii and the original a-1, seemed to be neither huge nor eye-opening. But over time, I have come to realize that I was 100% wrong. The huge difference between the new camera body and the a9 iii is, of course, the 51MP a-1 raw files (as compared to the 24MP files rendered by the a9 iii).

The price of a new a-1 is $5,898.00. The price of a new a-1 ii is $1,100.00 more: $6,998.00. As the a-1 ii is clearly far superior for bird photography to the original a-1, the choice for folks new to Sony or for those upgrading from lesser Sony camera bodies is an easy one. Prices for used a-1 bodies has not dropped drastically as I anticipated. At this point, a-1 folks who like showing flight and action and can afford an a-1 ii, are advised to purchase an a-1 ii. Please remember that life is short; we only get one ride on the merry-go-round.

If you do purchase an a-1 ii, be sure to use one of my two affiliate links so that you will receive my a-1 ii settings (in the form of a CAMSEa1ii.DAT file), the Buttons and Dials Guide, and an Info Sheet for free. Using my links will never cost you one penny and may actually save you some money. Folks who do not purchase their new a-i using my B&H link or from Bedfords here and entering the BIRDSASART discount code at checkout will be able to purchase the a-1 ii guide for $244.93. If you are at all confused and do not want to screw up your order, please get in touch via e-mail. If you would like to chat about upgrading, shoot me a text to 863-221-2372 and LMK a good time to call you.

Typos

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

Your Call

Please take a moment away from Instagram, Facebook, and TikTok and leave a comment letting us know which three of today’s seven featured images are your favorites and what you liked about each.

What’s Up?

Photography at Sebastian Inlet has continued to be challenging with wind against sun conditions. Friday morning’s northeast wind was a bit better than the northwests that have predominated since Red Steven’s arrived last Sunday.

I took Eugen and Red to a new restaurant in Vero, The Oar on 19th Place. Everyone’s food was incredibly delicious; it was fine dining at its best, and not terribly pricey. It was the best meal I have had in recent memory. The Thank You dinner was supposed to be my treat. But Red had surreptitiously snuck his credit card to the waiter and my plan was spoiled. Thank you Mr. Stevens!

Today is Saturday 18 October. The forecast is the most promising in more than a week: an east wind with partly cloudy skies. We will of course be heading to the inlet early. Red leaves on Sunday afternoon. Mishael Voisin is arriving early on Monday morning and will be joining me for a full week. Eugen Dolan is heading back to Toronto this coming Friday. Whatever you choose to do, I hope that you too have a happy and productive day.

If you would like to join in the fun and learn an absolute ton, I have room at the AirBnB for you on a Sebastian Extended IPT any time from 25 October through and including 23 November. For complete details you can scroll down here, get in touch via e-mail, or try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

If an item — a Delkin flash card or reader, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate or low foot — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match or beat any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedford by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Gear Questions and Advice

Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BirdPhotographer’s.Net, are — out of ignorance — using the wrong gear, especially when it comes to tripods and more especially, tripod heads. And the same is true in spades when ordering new camera bodies or lenses. My advice will often save you some serious money and may help you avoid making a seriously bad choice. Please know that I am always glad to answer your gear questions via e-mail. If you are desperate, you can try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (OCT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

This image was created by yours truly on 13 October 2025 while leading a Sebastian Inlet Ospreys and More Extended IPT. I used the handheld Sony FE 70-200mm f/2.8 GM OSS II Lens with the Sony FE 2x Teleconverter (at 400mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with ISO on the rear wheel — ISO 640: 1/3200 second at f/5.6 (wide open) in Manual mode. AWB at 8:22:35am on a sunny morning. RawDigger showed that the exposure was dead solid perfect. AWB at 6:47:10pm on a partly cloudy afternoon. Tracking: Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #1: Wood Stork adult head and shoulders portrait Image copyright 2025: Arthur Morris/BIRDS AS ART

Shooting from the Hip Using the Vertically Tilted Rear Monitor

Regular readers know that I was thrilled to learn that the Sony a-1 ii would have a rear monitor that could be tilted vertically. Kneeling is both difficult and less than stable for me for a variety of reasons. While standing, I often want to get lower so that I can move the background farther from the subject. If you do not understand that concept, please leave a comment and I will prepare an explanatory diagram.

Anyhoo, now that I have two a-1 ii bodies, the solution is to put on my reading glasses, tilt the rear monitor vertically, hold the lens a bit below waist level, find and frame the subject, and make some images. With practice, this becomes fairly easy to do. As this position is not the most stable, you may experience a bit of what I call compositional bracketing — small but sometimes significant differences in the framing. It pays, therefore, to use a faster shutter speed for static subjects than you would use normally (i.e., when holding the camera to your eye and shooting through the viewfinder.

Note also: when shooting all handheld verticals your right hand should be holding the camera from above after rotating the lens counter-clockwise.

This image was created on 14 October 2025 by Alvin “Red” Stevens of Birmingham, AL on a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, he used the handheld Sony FE 70-200mm f/2.8 GM OSS II Lens with the Sony FE 2x Teleconverter (at 400mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with ISO on the rear wheel — ISO 250: 1/1250 second (!) at f/5.6 (wide open) in Manual mode. AWB at 5:29:48pm on a sunny afternoon. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #2: Brown Pelican in flight with puffy white clouds Image courtesy of and copyright 2025: Red Stevens Image optimization by Arthur Morris/BIRDS AS ART

Pulled One Out of the Hat

We spent most of Tuesday afternoon past photographing Reddish Egrets and Wood Storks at close range. While reviewing the folder of Red’s images I was stunned to see this lovely image of a young Brown Pelican flying against a background of fluffy white clouds. Considering that he had been photographing birds for well less than two days, I was beyond astounded. Red did not remember creating the image. I gather from that that he saw the bird coming, reacted, and fired off a frame or two at just the right moment.

This image was created on 15 October 2025 at Sebastian Inlet State Park by IPT veteran Eugen Dolan on an Extended Instructional Photo-Tour. Seated on a rock and working low off the tilted, lowered rear monitor, he used the handheld Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 376mm) and The Latest Greatest Flagship Body, the Sony a1 II Mirrorless Camera. The exposure was determined via Zebras with ISO on the Thumb Wheel. ISO 800: 1/2000 sec. at f/6.3 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 8:22:42am on a sunny morning. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #3: Ruddy Turnstone on seaweed-covered rock Image copyright 2025: Eugen Dolan Image Optimization by Arthur Morris/birds as Art

Kudos to Eugen

Kudos to Eugen for sitting down on a rock, and — for the first time, working low off the tilted rear monitor. Again, this effectively moves the background farther from the subject and creates lovely, soft, out of focus backgrounds.

This image was created on 16 October 2025 at Sebastian Inlet State Park by yours truly while leading and Instructional Photo-Tour. Standing at full height, I used the handheld Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 600mm) and The Latest Greatest Flagship Body, the Sony a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +1.0 stop. AUTO ISO set ISO 500: 1/2500 second at f/6.3 (wide open) in Shutter Priority mode. RawDigger showed that the exposure was dead solid perfect. AWB at 6:47:10pm on a partly cloudy afternoon. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #4: Royal Tern in flight at sunset Image copyright Arthur Morris/birds as Art

Wind Against Sun & Silhouettes

While wind against sun conditions are terrible for traditional frontlit flight photography, they are ideal for sunrise and in this case, sunset silhouettes. Aware of the weather forecast, we did not leave the Airbnb until after 5pm. With the sun behind us that afternoon and a 20 mph northeast wind in our faces, we struggled for more than an hour; bird photography was impossible. As the sun neared the horizon, we faced northwest and began creating silhouettes of gulls and terns against the colored skies.

This image was created on 16 October 2025 by Alvin “Red” Stevens of Birmingham, AL on a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, he used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 3200: 1/2000 sec. at f/4 (wide open) in Manual mode. RawDigger showed that the exposure was dead solid perfect: AWB at 7:45:20am on a cloudy morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #5: Great Egret in flight Image courtesy of and copyright 2025: Red Stevens Image optimization by Arthur Morris/BIRDS AS ART

Red’s First Session With the 300mm f/2.8 GM

After working with his 70-200 II, a-1 ii, and both teleconverters for the first 3 1/2 days of his bird photography career, I had Red borrow my 300mm f.2.8 GM on a cloudy Thursday morning. With the 1.4X TC in place, he had 420mm of reach and, at first/4, a faster kit. He took to it like a duck to water.

This image was created on 15 October 2025 at Sebastian Inlet State Park by IPT veteran Eugen Dolan on an Extended Instructional Photo-Tour. Seated on a rock and working low off the tilted, lowered rear monitor, he used the handheld Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 376mm) and The Latest Greatest Flagship Body, the Sony a1 II Mirrorless Camera. The exposure was determined via Zebras with ISO on the Thumb Wheel. ISO 4000: 1/1600 sec. at f/6.3 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 7:44:39am on a partly sunny morning. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #6: Osprey gliding Image copyright 2025: Eugen Dolan Image Optimization by Arthur Morris/birds as Art

Angled, Gliding Flight

Though the sun broke through the clouds early on Friday morning, the wind from the northeast was not our friend.
Ninety-nine percent of the time, the 20 or so Ospreys holding in the strong onshore wind were high above us on sun angle at fairly close range. The bad news is that they were facing and looking about 20 degrees away from us. When this bird glided toward the ocean to our left, Eugen nailed the shot with a perfect exposure and zero underwing shadows.

This image was created on 3 October 2025 on a Sebastian Inlet Extended IPT. Standing at full height, 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 with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 1000: 1/4000 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was dead solid perfect. AWB at 8:12:01am on a sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #7: Sandwich Tern juvenile with baitfish Image copyright 2025 Arthur Morris/BIRDS AS ART

The Best Available Situation

As only two Ospreys had caught a fish on Friday morning, I decided to concentrate on the terns fishing southeast of the base of the bridge. The photography was far more challenging than the Osprey situation that had the birds hovering but angled away from us and away from the light. As many of the terns were flying and fishing quite close to us (and right on sun angle), I would have been better off with the 200-600, but the action was hot and I did not want to miss anything so I stuck with 840mm on the tripod. Red made a few nice tern images with his 420mm rig.

The title says it all. Purchase your copy here. The Complete and Quintessential Guide to Photographing Birds in Flight by Arash Hazeghi, Ph.D., and Arthur Morris/BIRDS AS ART

The Complete and Quintessential Guide to Photographing Birds in Flight: $99.00

I had long dreamed of becoming a great flight photographer. When using dSLR gear, making sharp images was a huge problem. Most of the time, the camera bodies simply were not up to snuff. Things have changed dramatically with mirrorless technology. The high-end mirrorless camera bodies now feature science fiction-like autofocus systems and frame rates of 30, 40, and even 125 fps. Nowadays, getting the eye sharp is no longer a problem. The problem more often involves selecting the strongest image from a long series of sharp images.

The truth, however, is that there is a lot more than owning a Canon EOS R1, a Nikon Z9, or a Sony a-1 ii to consistently creating great photographs of birds in flight. Some of the biggest factors to success include gear choice, shooting strategies, and understanding the importance of sky conditions and wind speed and direction. Once you have the techniques and technical aspects down pat and can routinely create sharp images, learning the importance of flight poses, wing positions, backgrounds, and subject placement and image design enable you to create and then select superb flight images. And you guessed it, each of those topics and tons more are covered in detail in The Complete and Quintessential Guide to Photographing Birds in Flight.

The guide consists of 267 pages and 21,013 words. There are 82 illustrative photos scattered throughout the text, two screen captures, and a 112-image gallery that includes examples created by Canon, Nikon, and mostly Sony gear. As seen above, each of the 194 inspirational photos is labeled with an educational caption.

You can purchase your copy here for $99.00.

Arash Hazeghi

Arash Hazeghi, Ph.D. is a principal electron device engineer. He received his Ph.D. degree in Electrical Engineering in 2011, from Stanford University, Stanford, California. His pioneering research on Carbon Nanotubes has been cited many times. In the past decade, Arash Hazeghi has been a major contributor to the research and the development of some of the most cutting-edge technologies introduced by Silicon Valley’s most reputable names including SanDisk, Intel and Apple.

More relevant here is that he is widely recognized as one of the world’s best birds in flight photographers. He specializes in raptors and the technical aspects of bird photography.

Flight photography is a skill that can be studied, practiced, and learned. Improve your skills by studying The Complete and Quintessential Guide to Photographing Birds in Flight

The Complete and Quintessential Guide to Photographing Birds in Flight
By Arash Hazeghi Ph.D., and Arthur Morris/BIRDS AS ART

What you will learn (about):

1- Weight and handholding super-telephoto lenses.
2- Weight and handholding intermediate telephoto and telephotos zoom lenses.
3- Choosing the right flight photography lens or lenses for you.
4- The importance of focal length for flight photography.
5- The importance of lens speed (the maximum aperture for flight photography.
6- Choosing between fixed focal lengths and zoom lenses for flight photography.
7- The importance of AF speed and performance for flight photography.
8- Handholding tips and techniques.
9- Shooting flight off a tripod with the Levered-clamp FlexShooter Pro.
10- Flight poses and wing positions.
11- Why artie changed his mind about the 400mm f/2.8 lenses for flight and more.
12- The advantages and disadvantages of using teleconverters for flight photography.
13- Why to stay away from off-brand lenses.
14- Understanding the importance of wind direction and speed for flight photography.
15- The relationship between sky conditions and wind direction and how it affects flight photography.
16- Creating flight silhouettes in wind-against-sun conditions.
17- The importance of being on sun angle for flight photography (and avoiding harsh shadows).
18- Tips on doing flight photography in cloudy, foggy, or overcast conditions.
19- About the direction of light in cloudy, foggy, or overcast conditions and how it affects flight photography.
20- How your understanding of bird behavior can dramatically improve your flight photography.
21- Tips on attracting birds for flight photography.
22- What to do when your camera’s AF system is temporarily blind.
23- The vital importance of pre-focusing.
24- How Direct Manual Focus can help you with flight photography.
25- The importance of shooting aggressively when doing flight photography.
26- Everything that you need to know with regards to rest positions for flight photography.
27- The importance of getting low when doing flight in many situations.
28- Getting the right exposure when doing flight photography.
29_ Why to use Manual mode 95% of the time for flight.
30- Tips on finding the bird in the frame, acquiring focus, and tracking the bird in flight.
31- How to set and best utilize your lens’s image stabilization feature (and why).
32- Setting the focus range limiter switch on your flight lens or lenses.
33- To choose the best shutter speed for photographing birds in flight.
34- The vital importance of pre-focusing. And yes, this is so important that it is on the list twice.

You can see four sample pages in the blog post here. And you can purchase your copy here.

Typos

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

What Do You Have to Say to Red?

After reading Red’s bird photography story and checking out five of his images, what do you have to say to this 80-year old beginner who never photographed a bird before Monday afternoon? Please be so kind as to leave a comment.

If …

If you are subscribed and had previously been receiving blog post notifications via e-mail on a regular basis and they quit coming in the last month or so, please let me know via e-mail and cut and paste this into the subject line: Please Add to the Personalized Blog Notification List. It seems that some e-mail providers (likely including Gmail) recently began blocking the blog post notification e-mails being sent by the Word Press Newsletter plugin. The new, authenticated sending address was supposed to fix that problem, but it has not 🙂 Life goes on.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (OCT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026) as below, or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

What’s Up?

Jim Litzenberg kindly picked up Alvin “Red” Stevens at the Melbourne airport on Sunday afternoon and dropped him off at the Vero Lake Estates AirBbN. After an early dinner of fresh seared tuna and a big salad, we headed to Sebastian Inlet.

Alvin (AKA Red), a retired dentist, is a very fit 80 years old. Three months ago he was looking for a new hobby that would exercise his brain cells. As he is returning to Antartica early next year he thought of bird photography. Before yesterday, he had never photographed birds before. IPT veteran and mutual friend Dr. Dick Curtain told Red that if anyone could get him on the right track with bird photography, it would be me. After some lengthy phone calls and lots of e-mails and with his Southern Ocean trip in mind, he followed my advice and purchased a Sony a-1 ii, the Sony FE 70-200mm f/2.8 GM OSS II lens, and both teleconverters. He used my B&H links (thank him very much) and had his gear sent to me in Indian Lake Estates so that I could set up his new camera.

I had Red practice the process by photographing mailboxes and cars around his home, and downloading his photos with Photo Mechanic. At times he was quite frustrated and was unsure that he could learn bird photography. Boy was he wrong. I was 100% positive that I could help him get started but did not expect that he would be a natural. Don’t get me wrong: he still has a long way to go to master the process, especially with regard to framing. He is doing fabulously well with shutter speeds, exposure, and creating sharp images.

Anyhoo, that afternoon we headed out each with the same rig in our hands so that we could be on the exact same page. Somewhat amazingly (but not for me), Red made each of today’s five featured images. Waking early on Monday, I optimized three of his best images. When I first showed them to him, he thought that they were my photos.

Unfortunately, Red brought wind against sun conditions with him; the forecast three mornings is for sunny with NW winds in the morning (bad) and northeast winds each afternoon (bad). We checked out the Ospreys in the inlet and I was pleased to see that Red was easily able to locate and track the birds with his 400mm rig. With the wind against sun, there were no good pictures to be made.

We headed to my favorite afternoon spot and found some birds in the shade. I woke early on Tuesday morning and optimized Red’s two best images from a difficult wind against sun Monday morning.

As you can see below, Red is a quick study, one who is capable of speedily learning the essentials of something to be done and readily absorbing new information.

We spent several hours on Monday afternoon reviewing and optimizing Eugen’s and Red’s images from our Monday morning session. Today is Tuesday 14 October 2025 and we will be headed out early to Sebastian for Red’s second and Eugen’s 17th morning instructional session. Whatever you opt to do, I hope that you too choose to have a great day.

If you would like to join in the fun and learn an absolute ton, I have room at the AirBnB for you on a Sebastian Extended IPT any time from 25 October through and including 23 November. For complete details you can get in touch via e-mail or try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

If an item — a Delkin flash card or reader, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate or low foot — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match or beat any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedford by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Gear Questions and Advice

Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BirdPhotographer’s.Net, are — out of ignorance — using the wrong gear, especially when it comes to tripods and more especially, tripod heads. And the same is true in spades when ordering new camera bodies or lenses. My advice will often save you some serious money and may help you avoid making a seriously bad choice. Please know that I am always glad to answer your gear questions via e-mail. If you are desperate, you can try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (OCT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

B&H Simplified

To ensure that I get credit for your B&H purchases, you can always click here. The tracking is invisible but using my affiliate links is greatly appreciated. And, with B&H, you can use your PayBoo card. You must use the website to order. You cannot get your free guides if you make a phone order. Once you have an item in your cart, you must complete the order within two hours. Huge thanks!

B&H

Many folks have written recently stating that they purchased a Sony a1 from B&H and would like their free membership in the Sony 1 Info and Updates Group, a $150.00 value. But when I check my affiliate account, their orders have not been there. When I let them know that they get credit for B&H purchases only if they use one of the many B&H affiliate links on the blog or begin their searches with this link, they are always disappointed. If in doubt, please contact me via e-mail and request a BH link. I am always glad to help and to guide you to the right gear.

Bedfords Simplified

Click here to start your search. Choose standard shipping, and when you get to the payment page, enter BIRDSASART in the discount code box and hit apply. You will be upgraded to free second day air Fed-Ex and receive 3% cash back on your credit card once your stuff ships. Using either my affiliate links is greatly appreciated and will often earn you free guides or discounts.

Bedfords Amazing BAA Discount Policy

Folks who have fallen in love with Bedfords can always use the BIRDSASART coupon code at checkout to enjoy a post-purchase, 3% off-statement credit (excluding taxes and shipping charges) on orders paid with a credit card. The 3% credit will be refunded to the card you used for your purchase when your product ships. Be sure, also, to check the box for free shipping to enjoy free Second Day Air Fed-Ex. This offer does not apply to purchases of Classes, Gift Cards, or prior purchases.

You can visit the Bedfords website here, shoot Steve Elkins an e-mail, or text him on his cell phone at (479) 381-2592.

This image was created on 11 October 2025 by Alvin “Red” Stevens of Birmingham, AL. crouching as instructed, he used the handheld Sony FE 70-200mm f/2.8 GM OSS II Lens with the Sony FE 2x Teleconverter (at 394mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with ISO on the rear wheel — ISO 800: 1/500 second at f/5.6 (wide open) in Manual mode. AWB at 6:25:34pm afternoon in the shade on a sunny afternoon. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #1: Reddish Egret head portrait Image courtesy of and copyright 2025: Red Stevens Image optimization by Arthur Morris/BIRDS AS ART

Using Wide for Perfect Image Designs

Wide (non-tracking) AF is my go-to AF method with the Sony a-1 ii. Start with the bird’s eye in the center of the frame and recompose as needed. Having Red watch the back of my camera body, I showed him how the AF system tracked the eye as I perfectly re-positioned the bird in the frame. Then, he did the exact same thing.

This image was also created on 11 October 2025 by Alvin “Red” Stevens of Birmingham, AL. Standing at full height, he used the handheld Sony FE 70-200mm f/2.8 GM OSS II Lens with the Sony FE 2x Teleconverter (at 400mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with ISO on the rear wheel — ISO 800: 1/800 second (!) at f/5.6 (wide open) in Manual mode. AWB at 6:42:14pm in the shade on a sunny afternoon. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #2: Great Egret taking flight Image courtesy of and copyright 2025: Red Stevens Image optimization by Arthur Morris/BIRDS AS ART

Push the Button Now, Ask Questions Later

Red was making images of this young Great Egret working to place the bird on the left side of the frame. When it took flight, he panned with the bird and created several images despite the fact that his shutter speed was theoretically too slow for making a sharp flight image. But his accurate panning rate yielded a sharp image.

Is this the world’s greatest ever flight image? No, no by a long shot. But considering that it was Red’s first ever afternoon of bird photography it is quite amazing.

This image was also created on 11 October 2025 by Alvin “Red” Stevens of Birmingham, AL. Crouching a bit, he used the handheld Sony FE 70-200mm f/2.8 GM OSS II Lens with the Sony FE 2x Teleconverter (at 400mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with ISO on the rear wheel — ISO 2000: 1/500 second at f/5.6 (wide open) in Manual mode. AWB at 6:51:06pm in the shade on a sunny afternoon. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #3: Great Egret head portrait Image courtesy of and copyright 2025: Red Stevens Image optimization by Arthur Morris/BIRDS AS ART

Why Crouch?

With situations similar to this, crouching to get lower effectively moves the background farther from the subject and usually renders a more pleasing, less detailed background.

This image was created on 13 October 2025 by Alvin “Red” Stevens of Birmingham, AL. Standing near the base of the South Jetty, he used the handheld Sony FE 70-200mm f/2.8 GM OSS II lens with the with theSony FE 1.4x Teleconverter and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +2.3 stops. AUTO ISO set ISO 125: 1/8 second at f/5.6 (stopped down one stop) in Shutter Priority mode. AWB at 7:17:01am on a clear morning with one large cloud on the eastern horizon. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger high-res version. Image #4: Pre-sunny morning wave blur Image courtesy of and copyright 2025: Alvin Stevens Image optimization by Arthur Morris/BIRDS AS ART

Open to Learning New Techniques and Making Creative Blurs

On our first morning, Red was open to learning the Shutter Priority Mode technique that I use at the beach for creating pleasing blurs. He made lots of them, and created on quite sensual image. He learned during the image optimization that properly exposed raw files of overall light-toned scenes should look washed out and boring and that they can then be brought to life during the raw conversions.

This image was created on 16 October 2025 by Alvin “Red” Stevens of Birmingham, AL on a Sebastian Inlet Ospreys and More Extended IPT. Standing at full height, he used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +1.0 stops. AUTO ISO set ISO 1250: 1/2500 second at f/5.6 (wide open) in Shutter Priority mode. RawDigger showed that the exposure was perfect: AWB at 6:45:10pm on a partly cloudy afternoon. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #5: Laughing Gull — sunset silhouette Image courtesy of and copyright 2025: Red Stevens Image optimization by Arthur Morris/BIRDS AS ART

On Saving a Bit of ISO

Note that with this image Red properly dropped his shutter speed from 1/4000 sec. to 1/2500 sec. to save two clicks of ISO. It is proper to do the exact same thing when working in manual mode and creating sharp images. Red’s ability to create sharp images from day one of his bird photography career was remarkable.

I’ve long said that beginning and intermediate shooters with the latest greatest mirrorless gear, their cameras set up properly, and a modicum of good instruction can — on occasion, create action shots as good as those made by a pro with 42+ years of bird photography experience.

If …

If you had previously receiving blog post notifications via e-mail on a regular basis but they quit coming in the last month or so, please let me know via e-mail and cut and paste this into the subject line: Please Add to the Personalized Blog Notification List. It seems that some e-mail providers (likely including Gmail) recently began blocking the blog post notification e-mails being sent by the Word Press Newsletter plugin. The new, authenticated sending address was supposed to fix that problem, but it has not 🙂 Life goes on.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (OCT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026) as below, or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

Your Call

Which three of today’s nine featured flight images are your favorites? Please be so kind as to leave a comment and let us know why you made your choices.

If …

If you had previously receiving blog post notifications via e-mail on a regular basis but they quit coming in the last month or so, please let me know via e-mail and cut and paste this into the subject line: Please Add to the Personalized Blog Notification List. It seems that some e-mail providers (likely including Gmail) recently began blocking the blog post notification e-mails being sent by the Word Press Newsletter plugin. The new, authenticated sending address was supposed to fix that problem, but it has not 🙂 Life goes on.

What’s’ Up?

Mornings have continued to be great with diving Ospreys and fishing pelicans. Wednesday afternoon was typical of our pm sessions with challenging wind against sun conditions interspersed with rain squalls. We did enjoy some great subjects facing the wrong way, that means, looking at us! We did well with a young Great Blue Heron, Snowy and Reddish Egret, and several Wood Storks.

Today is Thursday 9 October. Conditions at Sebastian were very good but there was little going on. We did have one good chance on an Osprey with a fish on our way back to my SUV. Whatever you opt to do, I hope that you too choose to have a great day.

If you would like to join in the fun and learn an absolute ton, I have room at the AirBnB for you on a Sebastian Extended IPT any time from 25 October through and including 23 November. For complete details you can scroll down here, get in touch via e-mail, or try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Volume II of the Digital Basics IV Video Series was distirbuted yesterday afternoon to the many wholesome ordered the entire series; it explains in detail how to handle images where some bright colors like reds, oranges, and yellows, show as over-exposed as soon as you hold down the Alt or Option key and move the Whites slider to the right in Adobe Camera Raw. We should be sending it out to the many who ordered the complete series this afternoon. Next up in Volume III will be the amazing Super Resolution feature in Photoshop 2025 v26.20.0.

If an item — a Delkin flash card or reader, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate or low foot — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match or beat any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedford by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Gear Questions and Advice

Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BirdPhotographer’s.Net, are — out of ignorance — using the wrong gear, especially when it comes to tripods and more especially, tripod heads. And the same is true in spades when ordering new camera bodies or lenses. My advice will often save you some serious money and may help you avoid making a seriously bad choice. Please know that I am always glad to answer your gear questions via e-mail. If you are desperate, you can try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (OCT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

The title says it all. Purchase your copy here. The Complete and Quintessential Guide to Photographing Birds in Flight by Arash Hazeghi, Ph.D., and Arthur Morris/BIRDS AS ART

The Complete and Quintessential Guide to Photographing Birds in Flight: $99.00

I had long dreamed of becoming a great flight photographer. When using dSLR gear, making sharp images was a huge problem. Most of the time, the camera bodies simply were not up to snuff. Things have changed dramatically with mirrorless technology. The high-end mirrorless camera bodies now feature science fiction-like autofocus systems and frame rates of 30, 40, and even 125 fps. Nowadays, getting the eye sharp is no longer a problem. The problem more often involves selecting the strongest image from a long series of sharp images.

The truth, however, is that there is a lot more than owning a Canon EOS R1, a Nikon Z9, or a Sony a-1 ii to consistently creating great photographs of birds in flight. Some of the biggest factors to success include gear choice, shooting strategies, and understanding the importance of sky conditions and wind speed and direction. Once you have the techniques and technical aspects down pat and can routinely create sharp images, learning the importance of flight poses, wing positions, backgrounds, and subject placement and image design enable you to create and then select superb flight images. And you guessed it, each of those topics and tons more are covered in detail in The Complete and Quintessential Guide to Photographing Birds in Flight.

The guide consists of 267 pages and 21,013 words. There are 82 illustrative photos scattered throughout the text, two screen captures, and a 112-image gallery that includes examples created by Canon, Nikon, and mostly Sony gear. As seen above, each of the 194 inspirational photos is labeled with an educational caption.

You can purchase your copy here for $99.00.

Arash Hazeghi

Arash Hazeghi, Ph.D. is a principal electron device engineer. He received his Ph.D. degree in Electrical Engineering in 2011, from Stanford University, Stanford, California. His pioneering research on Carbon Nanotubes has been cited many times. In the past decade, Arash Hazeghi has been a major contributor to the research and the development of some of the most cutting-edge technologies introduced by Silicon Valley’s most reputable names including SanDisk, Intel and Apple.

More relevant here is that he is widely recognized as one of the world’s best birds in flight photographers. He specializes in raptors and the technical aspects of bird photography.

Flight photography is a skill that can be studied, practiced, and learned. Improve your skills by studying The Complete and Quintessential Guide to Photographing Birds in Flight

The Complete and Quintessential Guide to Photographing Birds in Flight
By Arash Hazeghi Ph.D., and Arthur Morris/BIRDS AS ART

What you will learn (about):

1- Weight and handholding super-telephoto lenses.
2- Weight and handholding intermediate telephoto and telephotos zoom lenses.
3- Choosing the right flight photography lens or lenses for you.
4- The importance of focal length for flight photography.
5- The importance of lens speed (the maximum aperture for flight photography.
6- Choosing between fixed focal lengths and zoom lenses for flight photography.
7- The importance of AF speed and performance for flight photography.
8- Handholding tips and techniques.
9- Shooting flight off a tripod with the Levered-clamp FlexShooter Pro.
10- Flight poses and wing positions.
11- Why artie changed his mind about the 400mm f/2.8 lenses for flight and more.
12- The advantages and disadvantages of using teleconverters for flight photography.
13- Why to stay away from off-brand lenses.
14- Understanding the importance of wind direction and speed for flight photography.
15- The relationship between sky conditions and wind direction and how it affects flight photography.
16- Creating flight silhouettes in wind-against-sun conditions.
17- The importance of being on sun angle for flight photography (and avoiding harsh shadows).
18- Tips on doing flight photography in cloudy, foggy, or overcast conditions.
19- About the direction of light in cloudy, foggy, or overcast conditions and how it affects flight photography.
20- How your understanding of bird behavior can dramatically improve your flight photography.
21- Tips on attracting birds for flight photography.
22- What to do when your camera’s AF system is temporarily blind.
23- The vital importance of pre-focusing.
24- How Direct Manual Focus can help you with flight photography.
25- The importance of shooting aggressively when doing flight photography.
26- Everything that you need to know with regards to rest positions for flight photography.
27- The importance of getting low when doing flight in many situations.
28- Getting the right exposure when doing flight photography.
29_ Why to use Manual mode 95% of the time for flight.
30- Tips on finding the bird in the frame, acquiring focus, and tracking the bird in flight.
31- How to set and best utilize your lens’s image stabilization feature (and why).
32- Setting the focus range limiter switch on your flight lens or lenses.
33- To choose the best shutter speed for photographing birds in flight.
34- The vital importance of pre-focusing. And yes, this is so important that it is on the list twice.

You can see four sample pages in the blog post here. And you can purchase your copy here.

This image was created on 30 September 2025 on a Sebastian Inlet Ospreys and more Extended Instructional Photo-Tour (IPT). Standing at the base of the South Jetty, I used the handheld Sony FE 70-200mm f/2.8 GM OSS II Lens with theSony FE 1.4x Teleconverter (at 235mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +2.0 stops. AUTO ISO set ISO 500: 1/500 second at f/4 (wide open) in Shutter Priority mode. RawDigger showed that the exposure was perfect. AWB at 7:45:35am on a cloudy morning. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #1: Great Blue Heron juvenile taking flight over surf Image copyright 2025: Arthur Morris/BIRDS AS ART

Getting Lucky on Shutter Speed with the Cloud-scape Rig

I call the 70-200mm f/2.8 II with the 1.4X TC the Cloud-scape Rig as it is ideal on partly cloudy mornings as the sun rises over the Atlantic Ocean. You often get some very nice sunrise color and dramatic cloudy formations either well before or just after sunrise. The 98-280mm focal lenght range is often the perfect tool. At times, I need to remove the TC to go wider for the clouds. I was working this young Great Blue Heron on the shoreline at 1/500 second. When it took flight I followed my own oft-given advice; when unexpected action occurs, press the shutter button. If you try to change any settings, you will likely come away with nothing. I was shocked and happy when I noted that half the images in the sequence were sharp on the bird’s eye at only 1/500 second.

This image was also created on 2 October 2025 on a Sebastian Inlet Ospreys and more Extended Instructional Photo-Tour (IPT). Hanging out by the fishing pier, I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure was determined via Zebras with ISO on the Thumb Wheel. ISO 5000!: 1/1600 sec. at f/2.8 (wide open) in Manual mode. RawDigger showed that the exposure was perfect: AWB at 7:40:56am on a cloudy dark morning. Tracking Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #2: Royal Tern juvenile flying right at me Image copyright 2025 Arthur Morris/BIRDS AS ART

Horses for Courses …

Lenses are nothing more than tools. Having the right tool for the job can make all the difference in the world. Though I was using a relatively low for flight shutter speed — 1/1600 second, I still needed a high ISO — 5000 to get a decent exposure (or raw file brightness to be technically correct). In mega low light flight situations, the 300m f/2.8 lenses can be deadly. The Sony GM version is the lightest of the lot by far at less than 3 1/4 lbs. It complements both the Sony 200-600 and the Sony 400-800 perfectly for low light bird photography. It does well with either the 1.4X or the 2X teleconverter.

This image was created on 3 October 2025 on a Sebastian Inlet Extended IPT. Standing at full height, 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 with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 2500: 1/5000 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was dead solid perfect. AWB at 8:00:03am on a sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #3: Osprey adult in flight with menhaden Image copyright 2025 Arthur Morris/BIRDS AS ART

840mm for Osprey Flight on a Tripod

There are lots of folks at Sebastian with 600mm f/4 lenses — Canon, Nikon, and Sony. Most folks handhold them, and I rarely see anyone using theirs with a 1.4X TC. I rarely go with the bare 600mm, and am always on a tripod. Here’s a tip for those using the Levered-Clamp FlexShooter Pro. After prolonged use, these heads do not pan as smoothly as they did when the come out of the box. Though the manufacturer recommends against it, spraying the inner black ball with WD-40 results in super-smooth panning. Try it, you will like it.

This image was also created on 3 October 2025 on a Sebastian Inlet Extended IPT. Standing at full height, 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 with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 1250: 1/4000 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was dead solid perfect. AWB at 8:24:05am on a sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #4: Brown Pelican juvenile — tight flight with fish in bill pouch Image copyright 2025 Arthur Morris/BIRDS AS ART

The New Super Resolution Feature

The new Super Resolution feature in Photoshop 2025 v26.10.0 (and in the latest version of Lightroom), or more correctly, in Adobe Camera Raw 17.5, can do wonders with large and huge crops. But only when the raw file is sharp. If your image suffers from unsharpness of motion blur, doubling the resolution only makes things worse. It is tricky to use this feature. Complete details on how to implement Super Resolution will be included in Volume III of the Digital Basics IV Video Series.

I doubled the resolution of this 50% cropped image and as you can see above after clicking on the image, the results are spectacular.

This image was created on 4 October 2025 on a Sebastian Inlet Extended IPT. Standing at full height, 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 with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 4000: 1/2500 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 7:50:18am on a then-cloudy morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #5: Osprey adult in flight with mullet Image copyright 2025 Arthur Morris/BIRDS AS ART

Dealing With Rapidly Changing Weather and Light

Yesterday morning (Wednesday) was typical. It began cloudy dark and then got brighter. Then it went from cloudy bright to full sun and then back to cloudy dark. Before Eugen and I headed home, it poured twice, each time for ten minutes as a squall passed by. With the strong east wind, I usually ride out the heavy rain simply by keeping my camera body in front of my face or chest to protect it. I keep an extra woolen watch cap in my pocket to place over the camera when it rains hard. When things get really bad, we seek shelter under the bridge; it is just a three minute walk. Five minutes later, the sun may be out again.

As far as getting the right exposure, Sony’s Zebra technology (set up properly), is a life-saver for both beginning photographers and 40+ year bird photography veterans. Don’t forget, when working in low light, white sky conditions, your camera’s metering system is just plain stupid. You need to add lots of light to avoid underexposing the subject.

The weather on 4 October was typical as noted above. Want proof? See the next frame.

This image was also created on 4 October 2025 on a Sebastian Inlet Extended IPT. Standing at full height, 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 with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 2000: 1/4000 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 7:56:19am on a then-sunny morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #6: Osprey adult taking flight with bloody mullet in its talons Image copyright 2025 Arthur Morris/BIRDS AS ART

Six Minutes Later!

Six minutes after I created Image #5 at ISO 4000, the sun broke through. I lowered the ISO until I saw only faint Zebras on the brightest highlights, and created a very strong sequence of images as the Osprey lifted the fish out of the water. Though every image was razor sharp on the bird’s eye, I kept only eight of them, those with the strongest and most interesting wing positions and flight poses. You can see another image from the series (Image #2) in the blog post here.

The morning of Saturday 4 October was one of those fabulous photo sessions that you will remember for decades.

This is a large crop created from an image made on 5 October 2025 on a Sebastian Inlet Extended IPT. Standing at full height, 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 with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 3200: 1/2500 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 78:49:11am on a cloudy morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #7: Mullet in talons of Osprey Image copyright 2025 Arthur Morris/BIRDS AS ART

Super Resolution with a Vengeance

It’s no fun being a fish in Sebastian Inlet. Aside from the Ospreys attacking from above, large predatory fish attack from below. Those include Snook and Tarpon. On Tuesday past, there were sharks in the inlet, some right in front of us as we stood on the South Jetty. Anyhoo, I had fun with the huge crop that gave me an opportunity to work on the color and tonality of the mullet. Last year a fisherman hooked a shark on a pencil popper lure on the South Jetty, and, an hour later, landed a 5-foot Black-tipped Reef Shark about 1/4 mile up the beach.

This image was created on 7 October 2025 on a Sebastian Inlet Extended IPT. 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 Sony a-1 (now replaced by the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera). Exposure determined via Zebras with ISO on the Thumb Wheel: ISO 3200. 1/2500 sec. at f/4 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 7:50:16am on a cloudy morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #8: Osprey juvenile in flight Image copyright 2025 Arthur Morris/BIRDS AS ART

So, I Ran Back to My SUV

I noted lots of Ospreys hovering in the strong wind along the shoreline just south of the jetty. So, I ran back to the car and grabbed the 300 f/2.8 with the 1.4X TC. Before I even got back to the jetty I looked up and saw this handsome young Osprey directly overhead. I created about 40 images as it hung there, and kept only one, the one that had the bird looking right down at me. Once again, having the right tool at and in hand payed big dividends.

This image was created on 7 October 2025 on a Sebastian Inlet Extended IPT. Standing at full height I used the Robus RCM-439 4-Section Carbon Fiber Monopod, 65/Wimberley MonoGimbal Head-supported Sony FE 400-800mm f/6.3-8 G OSS lens (Sony E) (at 800mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with ISO on the rear wheel: ISO 3200: 1/3200 sec. at f/8 (wide open) in Manual mode. RawDigger showed that the exposure was dead-solid perfect. AWB at 10:06:07am on a variably cloudy morning. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #9: Brown Pelican juvenile turning to dive Image copyright 2025: Arthur Morris/BIRDS AS ART

Mono-Podding

I love using the 400-800 on a monopod as detailed in the caption above. It really makes things easy when doing flight and action. The more I practice with it, the better I do.

Handholding Versus MonoPodding with the 400-800

With relatively heavy lenses, it is actually easier to handhold for flight photography than when working a static subject. Why? When doing flight, proper technique calls for raising the lens from the rest position, finding the subject, panning with it while acquiring focus, and squeezing off a sequence. Total time? Several seconds at most. When working a static subject like a Great Egret on a pier railing, however, you might wind up holding the lens up for five or ten or even more minute. Having the lens supported by a quality monopod reduces stress and strain especially on your left shoulder. A tripod would be even better but then you lose the stealth and mobility advantages that come with using a monopod.

You can learn a ton about using a monopod in the Robus MonoPodding With the Sony 400-800 G Lens blog post here..

Typos

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

What’s Up?

Thanks to the great folks at Bluehost and webmaster Peter Kes, the BIRDS AS ART blog is now back in business. We believe that things will be better than ever as far as post notifications are concerned. My plan is to publish some new posts and intersperse those with posts that folks likely missed.

As many of you know, the BIRDS AS ART Blog (www.BIRDSASART-Blog.com) has — for many years, been the very best place on the planet to learn to improve your bird photography (he said modestly) and has always been 100% free. If you know of a better place to learn, please leave a comment as I would love to visit.

I have room at the AirBnB for you on a Sebastian Extended IPT any time from 25 October through and including 23 November. Scroll down to the bottom for details or get in touch via e-mail or try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

The Osprey fishing action has been heating up the past few days. The morning of Saturday 4 October was one of those fabulous photo sessions that you will remember for decades. Eugen Dolan is continuing to progress as he is working hard on mastering The Process detailed in the How Do You Learn to Make Great Action Shots? By Mastering the Basics and Learning to Create Perfect Images of Birds Doing Absolutely Nothing at All! blog post here. If you missed it, you will likely benefit by visiting, studying, and bookmarking it. That unless you have no desire to improve your bird photography.

Volume II of the Digital Basics IV Video Series has been completed; it explains in detail how to handle images where some bright colors like reds, oranges, and yellows, show as over-exposed as soon as you hold down the Alt of Option key and move the Whites slider to the right in Adobe Camera Raw. We should be sending it out to the many who ordered the complete series this afternoon. Next up in Volume III will be the amazing Super Resolution feature in Photoshop 2025 v26.20.0.

Today is Monday 6 October. The forecast is for partly cloudy with a brisk wind from the east, onshore at about 15mph. We will be heading to Sebastian Inlet State Park early as usual. Whatever you opt to do, I hope that you too choose to have a great day.

If an item — a Delkin flash card or reader, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate or low foot — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match or beat any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedford by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Gear Questions and Advice

Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BirdPhotographer’s.Net, are — out of ignorance — using the wrong gear, especially when it comes to tripods and more especially, tripod heads. And the same is true in spades when ordering new camera bodies or lenses. My advice will often save you some serious money and may help you avoid making a seriously bad choice. Please know that I am always glad to answer your gear questions via e-mail. If you are desperate, you can try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (SEPT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

B&H Simplified

To ensure that I get credit for your B&H purchases, you can always click here. The tracking is invisible but using my affiliate links is greatly appreciated. And, with B&H, you can use your PayBoo card. You must use the website to order. You cannot get your free guides if you make a phone order. Once you have an item in your cart, you must complete the order within two hours. Huge thanks!

B&H

Many folks have written recently stating that they purchased a Sony a1 from B&H and would like their free membership in the Sony 1 Info and Updates Group, a $150.00 value. But when I check my affiliate account, their orders have not been there. When I let them know that they get credit for B&H purchases only if they use one of the many B&H affiliate links on the blog or begin their searches with this link, they are always disappointed. If in doubt, please contact me via e-mail and request a BH link. I am always glad to help and to guide you to the right gear.

Bedfords Simplified

Click here to start your search. Choose standard shipping, and when you get to the payment page, enter BIRDSASART in the discount code box and hit apply. You will be upgraded to free second day air Fed-Ex and receive 3% cash back on your credit card once your stuff ships. Using either my affiliate links is greatly appreciated and will often earn you free guides or discounts.

Bedfords Amazing BAA Discount Policy

Folks who have fallen in love with Bedfords can always use the BIRDSASART coupon code at checkout to enjoy a post-purchase, 3% off-statement credit (excluding taxes and shipping charges) on orders paid with a credit card. The 3% credit will be refunded to the card you used for your purchase when your product ships. Be sure, also, to check the box for free shipping to enjoy free Second Day Air Fed-Ex. This offer does not apply to purchases of Classes, Gift Cards, or prior purchases.

You can visit the Bedfords website here, shoot Steve Elkins an e-mail, or text him on his cell phone at (479) 381-2592.

If …

If you were previously receiving blog post notifications via e-mail on a regular basis but they suddenly quit coming, please let me know via e-mail and cut and paste this into the subject line: Please Add to the Personalized Blog Notification List. Some e-mail providers (likely including Gmail) recently began blocking the post notifications being sent by the Word Press Newsletter program. It is possible that this problem has been solved.

This image was created on 28 September 2025 at Sebastian Inlet State Park by IPT veteran Eugen Dolan, visiting from Vancouver for 28 days. Standing at full height, he used the handheld Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 600mm) and The Latest Greatest Flagship Body, the Sony a1 II Mirrorless Camera. The exposure was determined via Zebras with ISO on the Thumb Wheel. ISO 1250: 1/4000 sec. at f/6.3 (wide open) in Manual mode. RawDigger showed that the exposure was 2/3-stop from perfect. AWB at 3:45:42pm on a mostly cloudy afternoon. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #1: Osprey juvenile in flight with late lunch Image copyright 2025: Eugen Dolan Image Optimization by Arthur Morris/birds as Art

Lucky on the Beach

On Sunday 28 September, Sebastian was closed due to Tropical Storm Warning. That afternoon, we walked the beach for two miles about one mile from the South Jetty. We had wind against sun but lucked out when it clouded over and a flock of White Ibises landed right in front of us for no reason at all. When the Osprey in Image #1 flew by in just the right spot, we each nailed it.

This image was processed using the amazing new Super Resolution feature in Photoshop 2025 v26.20.0. There is a nifty trick to clicking the Super Resolution box and doubling the resolution of a .TIF file after applying the fabulously improved Denoise feature, again in ACR 17.5/Photoshop 2025 v26.20.0. It will be detailed in Volume III of the Digital Basics IV Video Series.

Kudos to Eugen for creating a long, properly exposed series of images that yielded the lovely wing position above.

This image was created on 4 October 2025 on a Sebastian Inlet Extended IPT. Standing at full height, 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 with the Sony FE 1.4x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 2000: 1/4000 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 7:56:18am on a momentarily sunny/mostly cloudy morning. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #2: Osprey adult emerging from inlet with menhaden Image copyright 2025 Arthur Morris/BIRDS AS ART

Lucky on Saturday

On Saturday morning past, the wind was from slightly south of east. For reasons unknown to me, most of the Ospreys that came up with a fish turned to their right and flew directly to northeast rather than turning left and away from the photographers on the South Jetty. It was a banner day.

Viewing the Sebastian Composites below

Be sure to click on each composite to see a larger, inexplicably sharper high res version.

From upper left clockwise around to center: Osprey with fish at dawn; Osprey with menhaden; Osprey with Mullet; Mullet school under attack from below; Wood Stork landing; Tarpon jumping; Reddish Egret landing; Osprey turning to begin dive; Osprey with Yellow-tailed Menhaden. Click on the composite to see a larger, inexplicably sharper high res version. All images copyright 2025 Arthur Morris/BIRDS AS ART

Sebastian Inlet in Fall

Sebastian Inlet in the fall attracts schools of migrating saltwater fish that in turn attract dozens of Ospreys — we’ve counted 61 in the air at once, along with hordes of hungry birds including Brown Pelican, Royal Tern, and Laughing Gull. Other species of birds feed on smaller baitfish; those include Wood Stork, Reddish Egret, Snowy Egret, Great Egret, Great Blue heron, Little Blue Heron, and White Ibis. Sanderling and Ruddy Turnstone are easily photographed. American Avocet is an uncommon visitor. Rare gulls have included Lesser Black-backed Gull (all ages), Franklin’s Gull (first winter), and in 2024, a spectacular young Sabine’s Gull that remained for several weeks.

As this location provides world class action for at least two months each year, bird photographers travel to Florida’s East Coast from all over the planet. You are invited not only to join me but to learn a ton about bird photography. Remember that the more time you spend at great locations, the more chance you have to enjoy perfect weather conditions and opportunities that leave you in awe.

The shared AirBnB approach has proven to be tremendously popular and is hugely beneficial to learning.

From upper left clockwise around to center: Osprey with fish at dawn; Osprey with menhaden; Sanderling flock bird-scape blur; Royal Tern with large baitfish; Brown Pelican diving silhouette; 1-second breaking wave blur; Osprey with Yellow-tailed Menhaden blur; Osprey in flight/full downstroke; Snowy Egret/double overhead wingstretch. Click on the composite to see a larger, inexplicably sharper high res version. All images copyright 2025 Arthur Morris/BIRDS AS ART

2025 BIRDS AS ART Sebastian Inlet Ospreys and More In-the-Field Sessions

Available Dates: Friday 26 September (arrive on Thursday 25 September) thru the morning session on Mon 24 November 2025.
Limit: four photographers.

In 2024, I had an AirBnB in Vero Lake Estates for 26 nights. I had so much fun and enjoyed so many great opportunities that I am returning next fall for two full months; the AirBnB is just 22 minutes from the inlet.

Getting There

You can fly to Orlando International Airport (MCO) and rent a car or fly to Melbourne International Airport (MEL) and explore the possibility of airport pick-up and drop-off or a taxi or uber ride to and from the AirBnB. Rides with me are available for $15/day on a space available basis. Folks who ride with me do not need to purchase a park pass but will need to kick in $2.00/day when we are charged.

From upper left clockwise around to center: Osprey diving; Osprey with menhaden; Brown Pelican with Yellow-tailed Menhaden in bill pouch; Sabine’s Gull/juvenile top shot; Osprey landing on Cabbage Palm stump; Wood Stork sunrise silhouette; American Avocet running with wings raised; Osprey diving with talons outstretched; Peregrine with wings fully raised. Click on the composite to see a larger, inexplicably sharper high res version. All images copyright 2025 Arthur Morris/BIRDS AS ART

What You Will Learn

1- First and foremost you will learn to become a better flight photographer. Much better.

2- You will learn to shoot flight hand held and off the tripod.

3-You will learn the basics and fine points of digital exposure. Nikon and Canon folks will learn to get the right exposure every time after making a single test exposure, and SONY folks will learn to use Zebras so that they can be sure of making excellent exposures before pressing the shutter button.

4- You will learn to work in Manual exposure mode even if you fear it.

5- You will learn to evaluate wind and sky conditions and understand how they affect bird photography, especially (but not limited to) the photography of birds in flight.

6- You will learn to select the best shutter speeds for all types of bird photography, from flight and action to pleasing blurs.

7- You will learn how to approach free and wild birds without disturbing them.

8- You will learn to spot the good and the great situations.

9- You will learn to understand and predict bird behavior.

10- You will learn to design pleasing images by mastering your camera’s AF system.

11- You will learn to choose the best perspective.

12- You will learn to see and control your backgrounds.

13- You will learn to see and understand the light.

14- You will learn to see and create pleasing blurs in pre-dawn situations.

15- You will learn to be ready for the most likely event.

16- You will learn pro level tripod handling tips

17- During our image review sessions, you will learn the factors that separate insta-deletes, keepers, and family jewels. With general bird photography those include head angle, subject-to-sensor plane orientation, choice of perspective, the quality of the light, the quality of the background, image sharpness, and the image design. When evaluating photos of birds in flight, you must — in addition to the above, consider wing positions and flight poses.

18- You will improve your image optimization skills by leaps and bounds and will return home with a collection of image optimization videos.

The very best news is that you will be able to take everything you learn home with you so that you will be a better photographer wherever you are and whenever you photograph.

From upper left clockwise around to center: Osprey with Yellow-tailed Menhaden; Osprey overhead with bunker; Osprey with Yellow-tailed Menhaden; Osprey chase; Great Egret with pinfish; Osprey emerging with flounder; Great Egret taking flight; Osprey kiting; 1/8 second sunrise Atlantic Ocean blur. Click on the composite to see a larger, inexplicably sharper high res version. All images copyright 2025 Arthur Morris/BIRDS AS ART

Trip Costs and Booking Details

Change Your Life

Book any 3-6 Days: Lodging is $175/night. Instruction is $600/day. There is a morning session every day. Afternoon sessions average every other day. Image review and Photoshop sessions are usually daily.

Please note: Folks who sign up for an odd number of days of instruction will enjoy half + 1 afternoon sessions (more are possible if conditions are good) Those who sign up for an even number of days will enjoy at least 1/2 that number of afternoon shooting sessions (more are possible if conditions are good)

Book any 7-10 Days: Lodging is $160/night. Instruction is $575/day. There is a morning session every day. Afternoon sessions average every other day. Image review and Photoshop sessions are almost daily.

Book any 11-14 Days: Lodging is $150/night. Instruction is $550/day. There is a morning session every day. Afternoon sessions average every other day. Image review and Photoshop sessions are almost daily.

Book any three weeks: Lodging is $130/night. Instruction is $525/day. There is a morning session every day. Afternoon sessions average every other day. Image review and Photoshop sessions are almost daily.

Stay for one month (28 nights): Lodging is $120/night. Instruction is $500/day. There is a morning session every day. Afternoon sessions average every other day. Image review and Photoshop sessions are almost daily.

Stay two months (60 nights): Lodging is $100/night. Instruction is $475/day. There is a morning session every day. Afternoon sessions average every other day. Image review and Photoshop sessions are almost daily.

Brunch is on me. Dinners are provided for $20/day. I am an excellent chef and the food both healthy and of high quality.

Please note: your day of arrival is not a day of instruction.

Deposit Information

A non-refundable deposit by check is required to hold your spot. The amount will be 50% of the total for lodging, instruction, and meals. Please make the check out to:

BIRDS AS ART

And send it via US Mail to

BIRDS AS ART
PO Box 7245
Indian Lake Estates, FL 33855

Your balance, payable by check only as above, is due two months before your arrival date.

I hope to spend some quality time with you at Sebastian Inlet in the fall of 2025. If you have any questions, please get in touch via e-mail or via a text to 863-221-2372.

Typos

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

Post Notification Problems

Last spring we had a BIRDS AS ART blog nightmare — the post notification plug-in that had been working for two decades simply quit. Since then, the Word Press “Newsletter” plug-in had been working well for more than 15 months. Unbeknownst to me at first, post notifications were not sent for the last two blog posts (links below)..

We are aware of the current problem and despite our best efforts, we have been unable to set things straight with Newsletter. Webmaster Peter Kes and I are working hard to find a solution.

Halo Removed. Shooting Action Tips. Why a Monopod?

Digital Basics IV Video Series/Vol. I. ISOs 16,000 & 25,600!

If you happened upon today’s post (or perhaps received some sort of notification e-mail), you will likely want to check the two posts using the active links above.

It may take a few days to either patch things up with Newsletter or to get a new solution in place. Best advice: bookmark the blog post and visit every two or three days.

What’s Up?

Multiple IPT veteran and good friend Eugen Dolan arrived at the AirBnb in Vero Lake Estates on Friday afternoon. We have been out twice a day since then. There are schools of Mullet in and around the inlet but for the most part, the birds have not yet found the fish. I did see an Osprey dive and grab a fish on Saturday morning so we should enjoy some fishing action soon. There has been lots to photograph including Great Egret, Snowy Egret, juvenile Little Blue Heron, Reddish Egret, Great Blue Heron, Royal Tern, Sanderling, and Ruddy Turnstone. Not to mention some nice sunrises and cloud-scapes.

Today is Sunday 27 September and we will be heading to the Inlet at about 6:15am. The forecast is calling for a gentle breeze from the northeast and scattered thundershowers. Whatever you opt to do, I hope that you too choose to have a great day.

If an item — a Delkin flash card or reader, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate or low foot — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match or beat any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedford by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Gear Questions and Advice

Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BirdPhotographer’s.Net, are — out of ignorance — using the wrong gear, especially when it comes to tripods and more especially, tripod heads. And the same is true in spades when ordering new camera bodies or lenses. My advice will often save you some serious money and may help you avoid making a seriously bad choice. Please know that I am always glad to answer your gear questions via e-mail. If you are desperate, you can try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (SEPT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

Click on the screen capture to enlarge and check out the amazing noise reduction with this ISO 16000 image. The Digital Basics IV Video Series/Volume I by Arthur Morris/Birds as Art You can purchase Volume I by clicking here. Or save $50.00 by purchasing the entire 5 volume series by clicking here.

Digital Basics IV Video Series/Volume I

Learn more in the blog post here.

Most importantly, DB IV/Volume I eliminates the confusion that resulted from the changes to AI Noise Reduction (under the Details tab) in the latest update (17.5) to Adobe Camera Raw (in both Photoshop 2025 Release 26.10.0 and the latest version of Lightroom). As you will see below and in the Volume I video, the new interface represents a significant improvement on the results obtained with the Enhance dialogue box in previous versions of ACR. And, as mentioned here recently, I have some fabulous new image optimization tips, techniques, and tricks to share with you. As the Digital Basics III Video Series proved to be so popular, I have decided to run it back in the form of the Digital Basics IV Video Series (Those who have complete faith in the information that I provide may wish to use the preceding link to save $50.00 by ordering the whole series on a pre-publication basis; you will receive Volume I as soon as you order. The rest will follow upon publication.

My new workflow includes the use of the masking feature in Adobe Camera Raw (thanks to Anita North), the use of the Point Color eye dropper to tame super-saturated colors during raw conversions (discovered in tandem with Anita), a fabulous new Remove Tool trick that makes my favorite Photoshop Tool even more powerful than before -— that one discovered by me. In addition, I have recently begun doing some Curves work during my ACR raw conversions.

My basic workflow remains much the same as is detailed in both DB II and in the DB III Video Series:

1- Setting the Color Temperature (when and if needed).
2- Setting the White and Black Points and adjusting the Highlights and Shadows sliders.
3- Setting the Clarity and Dehaze sliders.
4- Fine-tuning color using the Hue/Saturation/Luminance Targeted Adjustment Tool, a huge step up from the Color Mixer Tool.
5- My 2-step noise reduction technique (with most images).

Once I have the .TIF file in Photoshop, I still use my usual cadre of clean-up tools and techniques including the Remove Tool, the Clone Stamp (only rarely), Divide and Conquer, Quick Masking, Layer Masking, Gaussian Blurs, an expanded array of personalized keyboard shortcuts, and tons of other image optimization strategies and methods adapted from previous versions of Digital Basics. I also demonstrate the selective use of Topaz Sharpen AI utilizing the masking feature. And last but not least, I share my JPEG creation methodology.

Volume I of Digital Basics IV details the image optimizations of six images. Most everything above but for the use of the Point Color eye dropper to tame super-saturated colors during raw conversions is at least touched upon in Volume I. Most of it is covered in great detail.

Volume I of Digital Basics IV details the image optimizations of today’s six featured images. Most everything above but for the use of the Point Color eye dropper to tame super-saturated colors during raw conversions is at least touched upon in Volume I. Most of it is covered in detail.

You can purchase your copy of this all new 1 hour, two minute video for $49.00 here in the BAA Online Store. There will be five volumes in DB IV each featuring 5 or 6 complete image optimizations. If you purchase the first four volumes, you will receive the fifth volume for free.

Or, you can save $50.00 by purchasing all five volumes now for only $146.00 by clicking here. I hope to complete Volume II this week.

This image was created on 24 September down by the lake near my home at Indian Lake Estates. Seated in the driver’s seat of my SUV, I used the BLUBB-supported Sony FE 600mm f/4 GM OSS lens with the Sony FE 2x Teleconverter and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the Thumb Wheel. ISO 1250: 1/1000 second at f/8 (wide open) in Manual mode. RawDigger showed that the exposure was dead solid perfect. AWB at 8:15:14am on a mostly sunny morning. Tracking: Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Image #1: Great Blue Heron backlit head portrait Image copyright 2025: Arthur Morris/BIRDS AS ART

Please Be Honest

Please be honest and let me know your thoughts on the image above. Do you find the large specular highlight balls to be distracting or do you think that they add to the image?

Stiched Pano

The up and down stitched pano was created from two frames. After creating the image of the GBH’s head, I turned off autofocus, pointed the lens up, and made an image of the specular highlights that overlapped After expanding canvas on the original image, combining the two was easy peasy.

An Exposure Note

The trick with rim-lit images like this is to push the exposure of the backlit white feathers as far to the right as possible to maximize the exposure of the shaded side of the subject. As always, Sony’s Zebra technology makes getting these exposures perfect child’s play (as long as your Zebra values are set up correctly (as detailed in the various BIRDS AS ART Camera User’s Guides). I dialed the ISO down until the Zebras disappeared and then increased it by two clicks.

Adobe Camera Raw (ACR) Masking

Huge thanks again to Anita North for teaching me to use the masking feature in Adobe Camera Raw. I use it often to brighten selected areas of an image. I used it twice on today’s featured image to increase the brightness of the shaded side of the heron. It is far, far superior than anything else I have ever tried. It will be featured in a future volume of the Digital Basics IV Video series.

This image was created on 24 September down by the lake near my home at Indian Lake Estates. Seated in the driver’s seat of my SUV, I used the BLUBB-supported Sony FE 600mm f/4 GM OSS lens with the Sony FE 2x Teleconverter and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the Thumb Wheel. ISO 1250: 1/1000 second at f/8 (wide open) in Manual mode. RawDigger showed that the exposure was dead solid perfect. AWB at 8:15:14am on a mostly sunny morning. Tracking: Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Image #2: Great Blue Heron backlit head portrait Image copyright 2025: Arthur Morris/BIRDS AS ART

A Pano Version Without Specular Highlights

After I cropped the square version down to a pano, it took a bit of work to eliminate the sliver of specular highlights that remained at the top of the frame.

Typos

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

L’shana Tova

“L’shana tova” (לְשָׁנָה טוֹבָה) is a common Hebrew greeting that means “for a good year,” and it is used to wish someone a Happy New Year during Rosh Hashanah, the Jewish New Year holiday. Rosh Hashanah began last night and is comprised of two full days. Yom Kippur (one day) begins at sundown on Wednesday 21 October.

Click on the screen capture to enlarge and check out the amazing noise reduction with this ISO 16000 image. The Digital Basics IV Video Series/Volume I by Arthur Morris/Birds as Art You can purchase Volume I by clicking here. Or save $50.00 by purchasing the entire 5 volumes series by clicking here.

Digital Basics IV Video Series/Volume I

Most importantly, DB IV/Volume I eliminates the confusion that resulted from the changes to AI Noise Reduction (under the Details tab) in the latest update (17.5) to Adobe Camera Raw (in both Photoshop 2025 Release 26.10.0 and the latest version of Lightroom). As you will see below and in the Volume I video, the new interface represents a significant improvement on the results obtained with the Enhance dialogue box in previous versions of ACR. And, as mentioned here recently, I have some fabulous new image optimization tips, techniques, and tricks to share with you. As the Digital Basics III Video Series proved to be so popular, I have decided to run it back in the form of the Digital Basics IV Video Series (Those who have complete faith in the information that I provide may wish to use the preceding link to save $50.00 by ordering the whole series on a pre-publication basis; you will receive Volume I as soon as you order. The rest will follow upon publication.

My new workflow includes the use of the masking feature in Adobe Camera Raw (thanks to Anita North), the use of the Point Color eye dropper to tame super-saturated colors during raw conversions (discovered in tandem with Anita), a fabulous new Remove Tool trick that makes my favorite Photoshop Tool even more powerful than before -— that one discovered by me. In addition, I have recently begun doing some Curves work during my ACR raw conversions.

My basic workflow remains much the same as is detailed in both DB II and in the DB III Video Series:

1- Setting the Color Temperature (when and if needed).
2- Setting the White and Black Points and adjusting the Highlights and Shadows sliders.
3- Setting the Clarity and Dehaze sliders.
4- Fine-tuning color using the Hue/Saturation/Luminance Targeted Adjustment Tool, a huge step up from the Color Mixer Tool.
5- My 2-step noise reduction technique (with most images).

Once I have the .TIF file in Photoshop, I still use my usual cadre of clean-up tools and techniques including the Remove Tool, the Clone Stamp (only rarely), Divide and Conquer, Quick Masking, Layer Masking, Gaussian Blurs, an expanded array of personalized keyboard shortcuts, and tons of other image optimization strategies and methods adapted from previous versions of Digital Basics. I also demonstrate the selective use of Topaz Sharpen AI utilizing the masking feature. And last but not least, I share my JPEG creation methodology.

Volume I of Digital Basics IV details the image optimizations of six images. Most everything above but for the use of the Point Color eye dropper to tame super-saturated colors during raw conversions is at least touched upon in Volume I. Most of it is covered in great detail.

Volume I of Digital Basics IV details the image optimizations of today’s six featured images. Most everything above but for the use of the Point Color eye dropper to tame super-saturated colors during raw conversions is at least touched upon in Volume I. Most of it is covered in detail.

You can purchase your copy of this all new 1 hour, two minute video for $49.00 here in the BAA Online Store. There will be five volumes in DB IV each featuring 5 or 6 complete image optimizations. If you purchase the first four volumes, you will receive the fifth volume for free.

Or, you can save $50.00 by purchasing all five volumes now for only $146.00 by clicking here. I hope to complete Volume II this week.

If …

If you were previously receiving blog post notifications via e-mail on a regular basis but they suddenly quit coming, please let me know via e-mail and cut and paste this into the subject line: Please Add to the Personalized Blog Notification List. Some e-mail providers (likely including Gmail) recently began blocking the post notifications being sent by the Word Press Newsletter program.

In the Last Blog Post

In the last blog post, only two folks picked a favorite, Image #4, both for the same reason: the bird’s elegant pose. My top pick was Image #3: Sandhill Crane colt head portrait, for its overall perfection.

If you are so inclined, feel free to pick a favorite from today’s six featured images and let us know why you made your choice.

What’s Up?

I’ve had several very good morning sessions here at ILE recently with lots of cooperative birds posing on the pier railings. Monday morning began slowly but I wound up working a pair of adult cranes preening on the beach south of a pier and yet another perched young Great Egret on The Perch II. I created 1245 yet-to-be-edited raw files and am of course, hoping for at least one good one.

Today is Tuesday 23 September and I will be headed down to the lake as soon as I hit publish. This blog post took a ridiculous 8+ hours to create, not including the time spent creating the images and the DB IV/VOL I video 🙂 Whatever you opt to do, I hope that you too choose to have a great day.

I am thinking about getting ready to head over to Sebastian on Thursday afternoon to begin my two-month residency at a very nice Vero Beach Estates AirBnB. Click here and scroll down a bit to learn about joining me.

If an item — a Delkin flash card or reader, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate or low foot — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match or beat any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedford by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Gear Questions and Advice

Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BirdPhotographer’s.Net, are — out of ignorance — using the wrong gear, especially when it comes to tripods and more especially, tripod heads. And the same is true in spades when ordering new camera bodies or lenses. My advice will often save you some serious money and may help you avoid making a seriously bad choice. Please know that I am always glad to answer your gear questions via e-mail. If you are desperate, you can try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (SEPT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

B&H Simplified

To ensure that I get credit for your B&H purchases, you can always click here. The tracking is invisible but using my affiliate links is greatly appreciated. And, with B&H, you can use your PayBoo card. You must use the website to order. You cannot get your free guides if you make a phone order. Once you have an item in your cart, you must complete the order within two hours. Huge thanks!

B&H

Many folks have written recently stating that they purchased a Sony a1 from B&H and would like their free membership in the Sony 1 Info and Updates Group, a $150.00 value. But when I check my affiliate account, their orders have not been there. When I let them know that they get credit for B&H purchases only if they use one of the many B&H affiliate links on the blog or begin their searches with this link, they are always disappointed. If in doubt, please contact me via e-mail and request a BH link. I am always glad to help and to guide you to the right gear.

Bedfords Simplified

Click here to start your search. Choose standard shipping, and when you get to the payment page, enter BIRDSASART in the discount code box and hit apply. You will be upgraded to free second day air Fed-Ex and receive 3% cash back on your credit card once your stuff ships. Using either my affiliate links is greatly appreciated and will often earn you free guides or discounts.

Bedfords Amazing BAA Discount Policy

Folks who have fallen in love with Bedfords can always use the BIRDSASART coupon code at checkout to enjoy a post-purchase, 3% off-statement credit (excluding taxes and shipping charges) on orders paid with a credit card. The 3% credit will be refunded to the card you used for your purchase when your product ships. Be sure, also, to check the box for free shipping to enjoy free Second Day Air Fed-Ex. This offer does not apply to purchases of Classes, Gift Cards, or prior purchases.

You can visit the Bedfords website here, shoot Steve Elkins an e-mail, or text him on his cell phone at (479) 381-2592.

This image was created on 19 September down by the lake near my home at Indian Lake Estates, FL. Standing at full height I used the handheld Sony FE 400-800mm f/6.3-8 G OSS lens (Sony E) (at 648mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with ISO on the rear wheel: ISO 1250: 1/1600 sec. at f/9 (stopped down 1/3-stop) in Manual mode. RawDigger showed that the exposure was dead-solid perfect. AWB at 8:12:16am shortly after sunrise with some light clouds on the eastern horizon. < Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #1: Sandhill Crane adult head portrait Image copyright 2025: Arthur Morris/BIRDS AS ART

The First Volume I Optimization

I chose a straightforward image to start the video to introduce my workflow with a mid-range ISO raw file. But for the new approach to using the Detail tab in ACR 17.5, most everything is similar to what I have been doing for the past two years.

This image was also created on 18 September 2025 down by the lake near my home at Indian Lake Estates, FL. Standing down on a slope that leads to a canal, I used the handheld Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 600mm) and The Latest Greatest Flagship Body, the Sony a1 II Mirrorless Camera. The exposure was determined by Zebras with ISO on the rear wheel: ISO 1600: 1/500 sec. at f/9 (stopped down one stop) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 8:40:42am on a mostly sunny morning. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #2: Sandhill Crane colt head portrait Image copyright 2025: Arthur Morris/birds as Art

The Second DB IV/Volume I Photo

My reasoning for choosing this image was much the same as for the first image. Having optimized this one previously, before I had learned to use the stuff until the Detail tab in the new ACR 17.5 properly, I wanted to compare the results. They were quite similar.

This image was also created on 24 March 2025 down by the lake near my home at Indian Lake Estates, FL. Working from the front seat of my SUV, I used the handheld Sony FE 200-600mm f/5.6-6.3 G OSS lens (at 419mm) and the a-1 (now replaced by The Latest Greatest Flagship Body, the Sony a1 II Mirrorless Camera). The exposure was determined by Zebras with ISO on the rear wheel: ISO 16000 (! — not a typo): 1/125 sec. at f/6.3 (wide open) in Manual mode. RawDigger showed that the exposure was 2/3 stop less than perfect. AWB at 7:14:25am on a totally cloudy morning. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Image #3: Sandhill Crane adult walking Image copyright 2025: Arthur Morris/birds as Art

Getting Lucky on Shutter Speed

Photographing a walking crane, no matter how slowly, at 1/125 second with a super-telephoto zoom lens, requires some luck as far as getting a sharp image. Surely good technique helps to some degree but it is important to remember that image stabilization, no matter how good it is, will not correct for subject movement, AKA, motion blur.

ISO 16000!

After enlarging this image, it is hard to believe that it was created at such a high ISO. It looks clean, sharp, and detailed with no trace of noise, even in the vegetation at the top of the frame. Considering the high ISO and the fact that the raw file was under-exposed to begin with, the performance of my double noise reduction technique was beyond impressive. See below for before and after views of the noise.

Head of Subject Animated GIF

The noise levels in the original were oppressively huge at best, especially considering the overall light tones where noise is generally less prevalent. Note that the bill cleanup was using the Remove Tool after the creation of the video.

Background/Vegetation Animated GIF

Notice that the noise levels in the darker areas of an image are far greater than in light-toned areas. The swirly, wavy artifacts in the “after” version are due to the compression needed to create the proper sizing for the animated GIF. As you can see in the optimized version, they are not present in the optimized image above, Image #3.

The originals for Images #4 & #5 Image copyright 2025: Arthur Morris/BIRDS AS ART

The Originals for Images #4 & #5

I opted to show these originals so that you could see the cropping, leveling, and expanded canvas with #4 and the tight crop with #5.

This image was created on 7 August 2025 on a Nickerson Beach Extended IPT. Standing at full height I used the hand held Sony FE 300mm f/2.8 GM OSS Lens (Sony E) with the Sony FE 2x Teleconverter and the Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. Exposure determined via Zebras with ISO on the Thumb Wheel. ISO 25600 (!): 1/5000 sec. at f/5.6 (wide open) in Manual mode. RawDigger showed that the exposure was fractionally short of perfect: AWB at 7:47:44pm a few minutes after the time of sunset. Tracking: Zone/AF-C with Bird Eye/Face Detection enabled performed perfectly. Image #4: Common Tern braking to land Image copyright 2025 Arthur Morris/BIRDS AS ART

ISO 25600!

Large crops tend to make noise in an image more apparent. I do believe that the new noise reduction available in ACR 17.5 is an improvement as compared to the results in previous versions of Photoshop AI noise reduction. And, as is quite evident in the Volume I video, step two of my double noise reduction technique cleans up any remaining Luminance noise beautifully in images that require it. Such as Image #4. In spades! Also, with this image, we brightened and selectively sharpened the bird’s right eye (on our left), fiddled with the snow fence, and removed a bit of the dark area behind the bird’s head.

This image was created on 6 June 2025 from the pier at the lake near my home at Indian Lake Estates, FL. Standing at full height, I used the handheld Sony FE 400-800mm f/6.3-8 G OSS lens (Sony E) (at 400mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +2.3 stops. AUTO ISO set ISO 6400: 1/4000 second at f/6.3 (wide open) in Shutter Priority mode. RawDigger showed that the exposure was dead-solid perfect. AWB at 8:27:15am on a cloudy morning. RawDigger showed that the exposure was dead solid perfect. Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #5: Boat-tailed Grackle male in flight Image copyright 2025: Arthur Morris/BIRDS AS ART

Shutter Priority Mode and ISO 6400

As regular readers know, I will not hesitate to go to Shutter Priority mode with EC on the thumb wheel when I am not sure what might pop up audit is likely that I will be working with consistently toned backgrounds. One of the really huge advantages of working in Shutter Priority mode with slow, variable aperture lenses is that when you zoom out, you can often save a click or two of ISO. The latter as with this image. This tip, and many other valuable others, are explained in detail in the BIRDS AS ART SONY 400-800mm f/6.3-9 G Super-telephoto Zoom Lens Guide.

Notice that I wound up with a dead-solid perfect exposure at +2 1/3 stops. It is likely that few if any photographers have ever created an image at 2 2/3 stops. Why do I saw that? Because, in cloudy conditions, the whole world pretty much consistently under-exposes their raw files.

To learn more about choosing shutter speeds for bird photography, check out the YouTube Video Guide: Bird Photography Shutter Speeds blog post here. Be sure — of course, to watch the video and to bookmark it for future study.

This image was created on 6 August 2025 on a Nickerson Beach Extended IPT. Seated on damp sand I used the knee-pod technique with the handheld Sony FE 400-800mm f/6.3-8 G OSS lens (Sony E) (at 800mm) and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined by Zebras with Exposure Compensation (EC) on the thumb wheel. Multi Metering +2.0 stops. AUTO ISO set ISO 8000: 1/250 second at f/8 (wide open) in Shutter Priority mode. RawDigger showed that the exposure was fractionally short of perfect. AWB at 6:20:36am shortly after sunrise with some light clouds on the eastern horizon. < Wide/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the larger, inexplicably sharper high-res version. Image #6: Great Black-backed Gull juvenile playing with beach wrack Image copyright 2025: Arthur Morris/BIRDS AS ART

ISO 8000 and Getting Lucky Again With a Relatively Slow Shutter Speed

Shutter Priority again went to an extremely high ISO despite that fact that I went with a dangerously slow shutter speed, 1/250 second. 1/250 is close to the bottom of the range when you are photographing a bird that is moving. Once again, my double noise reduction technique produced a clean, noise free photograph from a high ISO raw file.

In addition to increasing stability, note that getting down and using the knee-pod technique eases the strain of handholding a relatively heavy lens. And in nearly all cases, getting low provides a much more intimate perspective than standing at full height.

The BIRDS AS ART SONY 400-800mm f/6.3-9 G Super-telephoto Zoom Lens Guide

When I borrowed this lens from Sony, I assumed that at 5.45 pounds it was too heavy to handhold for long and that at f/8 at the long end (800mm,) it was too slow for most bird photography applications. In short, I did not want to like the lens. After a month of using it, I cannot live without it. After returning the loaner, I was miraculously able to get my own from Bedfords on 16 April 2025. In this guide I share everything that I have learned about using the 400-800. For best results, you need to know exactly what you are doing to get the most out of this zoom lens. It would be best, therefore, to consider and study the material in the guide so that you can begin making great images with your new lens.

You will learn how to deal with the relatively show apertures: f/6.3, f/7.1, and f/8 when working in Manual mode.

You will learn how to ensure that you are working at the widest aperture by working in Shutter Priority mode with AUTO ISO.

If you are able to hand hold the lens, you will learn proper hand holding techniques.

If you can’t, you will learn when, why, and how to employ other options. Those include:

1- The knee-pod, heel-pod, and toe-pod techniques

2- Using the lens on a monopod.

3- The best lens plate and low foot for your 4-8.

4- The best tripod and head for the 4-8 and how best to utilize them.

5- How to use the lens from your vehicle while supporting it on a BLUBB (or not and why not).

6- Detailed instructions on how to set and use the lens controls and buttons:

a- AF/MF

b- DMF Switch

c- Limit Range Switch

d- OSS (Optical Steady Shot) Switch

e- OSS Mode Switch

f- Focus Hold Buttons

The guide also includes a Hand Holding Shutter Speed Primer and an illustrative, educational, and inspiring 67-image gallery.

Free to folks who use one of my two affiliate links to purchase their Sony 400-800 G lens. Otherwise, please send a PayPal for $115.43 to birdsasart@verizon.net and include the words “400-800 Lens Guide” in your e-mail.

Typos

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

Good Photoshop News

Huge thanks to longtime friend Tim Grey. Tim is one of the top educators in digital photography and imaging, offering clear guidance on complex subjects through his writing, speaking, and training. Tim explained that the Denoise AI feature had not been eliminated in ACR 17.5. They simply changed the implementation (but did not bother explaining anywhere to anyone). The new version is actually a bit of an improvement as compared to the old Enhance method. I will begin working on the first volume of the Digital Basics IV Video series this afternoon. The use of new Noise Reduction feature will be covered in detail. Volume I should be in the BAA Online Store no later than Monday.

Good a- II News

On Wednesday, I updated one of my two a-1 ii bodies to Firmware 3.00 as several folks who purchased their new camera body received theirs with the latest firmware installed. Now they are good to go and will easily be able to get all my setting on their a-1 ii bodies and receive both the Buttons and Dials guide and the INFO sheet so that they can head out and begin making great images from day one. Use one of my affiliate links to purchase your a-1 ii and get everything above free. Using one of my links never costs you one penny more and if you get in touch via e-mail, I may be able to save you some money.

What’s Up?

I have been finding some stuff to photograph here at ILE for the past few days. On Tuesday morning I had a young female Anhinga on The Perch II. The next morning there was a preening young Great Egret that was evicted by a young male Anhinga. And this morning, I worked the cranes for a bit. One family was scavenging what I thought might have been a mower-killed skink about eight inches long. I sent a bunch of screen grabs to my herp-friend, Matt Milnes. He wrote:

“It a Glass Lizard, Ophisaurus ventralis. They are one of several species of legless lizards that are native to the southeast. The common name comes from the fact that they readily drop their tail when handled. They have external ear holes and movable eyelids, like other lizards, whereas snakes lack external ear holes and have a clear fixed scale that covers their eyes.”

Today is Thursday 18 September 2025. Whatever you choose to do today, I hope that you too opt to have a wonderful blessed day.

If an item — a Delkin flash card or reader, a Levered-clamp FlexShooter Pro, or a Wimberley lens plate or low foot — for example, that is available from B&H and/or Bedfords, is also available in the BAA Online Store, it would be great, and greatly appreciated, if you would opt to purchase from us. We will match or beat any price. Please remember also to use my B&H affiliate links or to earn 3% cash back at Bedford by using the BIRDSASART discount code at checkout for your major gear purchases. Doing either often earns you free guides and/or discounts. And always earns my great appreciation.

Gear Questions and Advice

Too many folks attending BAA IPTs and dozens of photographers whom I see in the field and on BirdPhotographer’s.Net, are — out of ignorance — using the wrong gear, especially when it comes to tripods and more especially, tripod heads. And the same is true in spades when ordering new camera bodies or lenses. My advice will often save you some serious money and may help you avoid making a seriously bad choice. Please know that I am always glad to answer your gear questions via e-mail. If you are desperate, you can try me on my cell at 863-221-2372. Please leave a message and shoot me a text if I do not pick up.

Don’t Just Shoot: Learn

If you are interested in changing your life and becoming a better photographer by joining me on the Extended IPT at Sebastian Inlet for Ospreys and more (SEPT 25 to NOV 24, 2025), in San Diego for Pacific-race Brown Pelicans and more (JAN 6 to FEB 2, 2026), or for Roseate Spoonbills at Stick Marsh (March 2026), please e-mail for dates, rates, terms, and additional information. Or shoot me a text to 863-221-2372. Some offerings include options for shared AirBnB lodging and meals. Ground transportation during your stay is a possibility at times.

B&H Simplified

To ensure that I get credit for your B&H purchases, you can always click here. The tracking is invisible but using my affiliate links is greatly appreciated. And, with B&H, you can use your PayBoo card. You must use the website to order. You cannot get your free guides if you make a phone order. Once you have an item in your cart, you must complete the order within two hours. Huge thanks!

B&H

Many folks have written recently stating that they purchased a Sony a1-ii from B&H and would like their free membership in the Sony 1-ii Info and Updates Group, a roughly $225.00 value. But when I check my affiliate account, their orders have not been there. When I let them know that they get credit for B&H purchases only if they use one of the many B&H affiliate links on the blog or begin their searches with this link, they are always disappointed. If in doubt, please contact me via e-mail and request a BH link. I am always glad to help and to guide you to the right gear.

Bedfords Simplified

Click here to start your search. Choose standard shipping, and when you get to the payment page, enter BIRDSASART in the discount code box and hit apply. You will be upgraded to free second day air Fed-Ex and receive 3% cash back on your credit card once your stuff ships. Using either my affiliate links is greatly appreciated and will often earn you free guides or discounts.

Bedfords Amazing BAA Discount Policy

Folks who have fallen in love with Bedfords can always use the BIRDSASART coupon code at checkout to enjoy a post-purchase, 3% off-statement credit (excluding taxes and shipping charges) on orders paid with a credit card. The 3% credit will be refunded to the card you used for your purchase when your product ships. Be sure, also, to check the box for free shipping to enjoy free Second Day Air Fed-Ex. This offer does not apply to purchases of Classes, Gift Cards, or prior purchases.

You can visit the Bedfords website here, shoot Steve Elkins an e-mail, or text him on his cell phone at (479) 381-2592.

This image was created down by the lake near my home at Indian Lake Estates on 15 April 2025. Seated in the driver’s seat of my SUV, I used the BLUBB-supported Sony FE 600mm f/4 GM OSS lens with the Sony FE 2x Teleconverter and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the Thumb Wheel. ISO 2500: 1/1600 second at f/8 (wide open) in Manual mode. RawDigger showed that the exposure was 1/2 stop too dark. AWB at 8:32:42am on a cloudy morning. Tracking: Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Image #1: Solitary Sandpiper Image copyright 2025: Arthur Morris/BIRDS AS ART

Photographing a New Species Well

Solitary Sandpiper, related to the yellowlegs, is a rare bird at Indian Lake Estates. I have seen it only once here in a quarter century. As its name implies to some degree, it is not seen in large numbers anywhere. I once saw three in the same spot on Staten Island early on a fine morning in May. Anyhoo, it is always a thrill to make a decent image of new species.

Solitary Sandpiper Species Account from Shorebirds; Beautiful Beachcombers
Tringa solitaria

True to its name, the Solitary Sandpiper is usually seen alone, It is extremely rare to see a group of more than three or four. Solitaries bob up and down as they search deliberately for aquatic insects and small crustaceans along the edges of shallow freshwater pools or along the shores of woodland ponds or streams. The presence of a fly-over Solitary Sandpiper is often revealed by its shrill “”peet weet” call.

This species is dark-brown above, lightly spotted white. It has greenish legs, a fairly short, straight bill, and a prominent, complete eye-ring. The throat, neck and breast are streaked dark brown. All plumages are similar, but in fresh juvenal plumage the spotting is brighter and more evident. Amazingly, this species nests in trees in the boreal forests of Canada and Alaska, frequently using the old nests of Rusty Blackbirds, robins, grackles, and waxwings. Solitary Sandpipers migrate south across a broad front, primarily east of the Rockies. A few winter in the southern United States, most in the Caribbean region and from Central America south to Argentina.

This image was created less than two minutes after Image #1 down by the lake near my home at Indian Lake Estates on 15 April 2025. Seated in the driver’s seat of my SUV, I used the BLUBB-supported Sony FE 600mm f/4 GM OSS lens with the Sony FE 2x Teleconverter and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the Thumb Wheel. ISO 2500: 1/2000 second at f/8 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 8:32:42am on a cloudy morning. Tracking: Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Image #2: Solitary Sandpiper jumping forward Image copyright 2025: Arthur Morris/BIRDS AS ART

Getting An Action Shot of a New Species

Getting a decent action shot of a species that you have never photographed before is the icing on the cake. Before you scroll down, see if you can figure out what I don’t like about Image #2. Clue — with a breeze from the southeast the thing that bugged me was 100% bad luck.

Image Color Question

I optimized Image #1 this morning while Image #2 had been processed about 5 months ago. Do you like the warmer color tones in Image #1 or the slightly cooler look to Image #2?

This image was created less than two minutes after Image #1 down by the lake near my home at Indian Lake Estates on 15 April 2025. Seated in the driver’s seat of my SUV, I used the BLUBB-supported Sony FE 600mm f/4 GM OSS lens with the Sony FE 2x Teleconverter and The Latest Greatest Sony Flagship Body, the a1 II Mirrorless Camera. The exposure was determined using Zebra technology with ISO on the Thumb Wheel. ISO 2500: 1/2000 second at f/8 (wide open) in Manual mode. RawDigger showed that the exposure was perfect. AWB at 8:32:42am on a cloudy morning. Tracking: Zone/AF-C with Bird-Eye/Face Detection performed perfectly. Click on the image to enjoy the high-res version. Image #3: Solitary Sandpiper jumping forward (with head replaced) Image copyright 2025: Arthur Morris/BIRDS AS ART

Photoshop Hanky Panky

Bad luck resulted in the bird’s head being turned slightly away in Image #2. So, I painted a Quick Mask of the same bird’s head on Image #1, moved it roughly into place on Image #2, refined the placement and warped the layer, and then added and refined the Regular Layer Mask that I had added. As the head was now held much higher, I needed to remove parts of the bill (and a bit more) that had not been covered by the Quick Mask. The last step was to select the formerly masked area with the Quick Selection Tool and reduce the saturation so that the replaced head matched the rest of the bird.

And no, I will not be entering Image #3 in any contests.

Shorebirds: Beautiful Beachcombers

Shorebirds: Beautiful Beachcombers

Written for naturalists and birders, the text tells you everything you’ve always wanted to know about North America’s sandpipers, godwits, yellowlegs, phalaropes, plovers, avocets, stilts, and oystercatchers. Topics covered include identification and aging, shorebird behavior, their incredible migrations, feeding and diet, mating and breeding strategies, eggs, nests, and young, conservation efforts, and shorebirding tips. Also included are approximately 50 species accounts covering all of the regularly occurring North American shorebird species. With 70 of Arthur’s images and 26 more by some of the world’s best nature photographers, this book, at publication, contained the finest collection of shorebird photographs ever published in a single volume.

Composite #1: All with the a-1 ii Mirrorless Camera body. Images copyright Arthur Morris/BIRDS AS ART

The a-1 ii for General Bird Photography

I have found that eye-tracking for general bird photography with the a-1 ii is far, far better than with the original Sony a-1. It grabs the eye and tracks it faster and far more consistently and focus is rarely lost, even with backgrounds other than sky.

Composite #2: All with the a-1 ii Mirrorless Camera body. Images copyright Arthur Morris/BIRDS AS ART

The a-1 ii for Birds in Flight

For birds in flight, the a-1 ii Mirrorless Camera body has no equal. As Arash Hazeghi says, “It is better than the a-1.” When I am late getting on a bird in flight, I have consistently been amazed at how often the AF system of the a-1 ii finds and tracks the bird’s eye.

Composite #3: All the result of using Pre-Capture with the a-1 ii Mirrorless Camera body. Images copyright Arthur Morris/BIRDS AS ART

Pre-Capture with the Sony a-1 ii

When it comes to Pre-Capture with the a-1 ii Mirrorless Camera body, Arash and I agree 100%. And with my slower reflexes, Pre-Capture is more important for me than it is for Arash. Understand that in each of the images in Composite #3, I did not push the shutter button until after the bird took flight!

All with the a-1 ii Mirrorless Camera body. Images copyright Arthur Morris/BIRDS AS ART

Purchasing or Upgrading to a Sony a-1 ii

The Sony a-1 ii e-Mail Set-up and Info Guide

I now own and use two Sony a-1 ii bodies. Every day that I use them, the more I am amazed by speed and accuracy of the Bird Face-Eye tracking in AF-C and the overall performance of the camera.

Aside from the improved ergonomics as compared to the a-1, other nice features include the fact that the rear screen tilts both ways — the lack of a tilting rear screen on the original a-1 always ticked me off. Pre-capture has proven to be a huge plus almost exclusively for take-off flight images. In my opinion, the Speed Boost feature is a total waste for bird photography because you should always be utilizing the maximum frame rate. In addition, the resolution on the rear monitor has been improved dramatically. I must mention again that Bird Face-Eye tracking on the a-1 ii is vastly improved as compared to both the a-1 and the a9 iii and that the 51MP files are to die for.

So, the big question is, is the a-1 ii “worth” a gear upgrade. Remembering that I can never know whether or not something is worth it to you, I can say that I was not floored when first using my a-1 ii. The differences between the a-1 ii and the original a-1, seemed to be neither huge nor eye-opening. But over time, I have come to realize that I was 100% wrong. The huge difference between the new camera body and the a9 iii is, of course, the 51MP a-1 raw files (as compared to the 24MP files rendered by the a9 iii).

The price of a new a-1 is $5,898.00. The price of a new a-1 ii is $1,100.00 more: $6,998.00. As the a-1 ii is clearly far superior for bird photography to the original a-1, the choice for folks new to Sony or for those upgrading from lesser Sony camera bodies is an easy one. Prices for used a-1 bodies has not dropped drastically as I anticipated. At this point, a-1 folks who like showing flight and action and can afford an a-1 ii, are advised to purchase an a-1 ii. Please remember that life is short; we only get one ride on the merry-go-round.

If you do purchase an a-1 ii, be sure to use one of my two affiliate links so that you will receive my a-1 ii settings (in the form of a CAMSEa1ii.DAT file), the Buttons and Dials Guide, and an Info Sheet for free. Using my links will never cost you one penny and may actually save you some money. Folks who do not purchase their new a-i using my B&H link or from Bedfords here and entering the BIRDSASART discount code at checkout will be able to purchase the a-1 ii guide for $244.93. If you are at all confused and do not want to screw up your order, please get in touch via e-mail. If you would like to chat about upgrading, shoot me a text to 863-221-2372 and LMK a good time to call you.

Typos

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