Arthur Morris/BIRDS AS ART

What’s Up?

DeSoto is on fire right now. Wednesday morning was fantastic. With clear skies and a strong wind from the east (wind against sun), I opted to stay in on Wednesday afternoon. Two cooperative, un-banded!, Hurricane Idalia-driven flamingoes showed up on Thursday morning and were photographed by about 25 photographers, almost all of them shooting 90 degrees or more off sun angle. In addition, I was surrounded by some of the several thousand shorebirds and some of the several thousand migrant and wintering terns. Thursday morning was mega. I was planning on staying in again on Thursday afternoon, but when I checked the Windy App, I saw that the wind had switched to the north by west. I drove down to the park, grabbed the 200-600, and headed north. That session turned out to be the very best of my three-day busman’s holiday. I kept 59 out of more than 2,000 flight shots. My best images, however, were of a juvenile Caspian Tern and a winter male American Avocet. When I started back to my car at 7:20pm, I was exhilarated.

Friday morning was decent; my best images were some tern blastoffs and the flamingo silhouettes — there were three un-banded that morning. As it is already five weeks after the hurricane, there is a good chance that some flamingos will hang around for the fall DeSoto IPTs. Note that American Flamingo is a Code 4 rarity on the American Birding Association list. I doubt that the several dozen flamingos in Florida will hang around to breed as I am not aware of any suitable breeding habitat — shallow salt or brackish water flats or alkaline lakes. That said, they did breed in Florida historically before being extirpated by hunting for the plume trade.

FYI: ABA Rare Bird Codes

Code 3: Rare. Species that occur in very low numbers, but annually, in the ABA Checklist Area. This includes visitors and rare breeding residents.

Code 4: Casual. Species not recorded annually in the ABA Checklist Area, but with six or more total records-including three or more in the past 30 years-reflecting some pattern of occurrence.

Code 5: Accidental. Species that are recorded five or fewer times in the ABA Checklist Area, or fewer than three records in the past 30 years.

This image was created on 12 May 2023 at Fort DeSoto Park, South of St. Petersburg, FL. I used the handheld Sony FE 400mm f/2.8 GM OSS lens with the Sony FE 1.4x Teleconverter, and The One, the Sony Alpha 1 Mirrorless Digital Camera). The exposure was determined via Zebra technology with ISO on the Thumb Dial. ISO 1000: 1/1000 sec. at f/5.6 (stopped down one stop) in Manual mode. When evaluated in RawDigger, the raw file exposure was determined to be dead-solid perfect. AWB at 9:09:17am on a partly cloudy morning. Tracking: Zone/AF-C with Bird Face/Eye detection enabled performed to perfection. Be sure to click on the image to enjoy a high-res version. Great Egret “studio head shot”

The Why Stop Down? Question

In the Concrete Backgrounds blog post here, I wrote:

Depth-of-Field Question

Why did the man who loves to shoot wide open stop down one full stop?

This topic has been addressed here dozens of times. Many folks were kind enough to leave comments; all but this one were incorrect:

Anthony Ardito: October 2, 2023 at 7:14 pm.

You stopped down because you were very close to the subject. Being so close, you had just a “sliver” of depth of field.

Above was the only correct answer.

Try this:

THINK ABOUT STOPPING DOWN ONLY WHEN YOU ARE WORKING VERY CLOSE TO A BIRD, AT NEAR POINT BLANK RANGE, CLOSE TO THE MINIMUM FOCUSING DISTANCE OF THE LENS.

Do understand that even when you stop down in such situations, you will not gain very much additional depth of field. At f/4 for the image above, the total DOF is .78 inches. Stopping down one stop to f/5.6 gets you to 1.18 inches of total DOF, an increase of 0.4 inches.

This image was created 6 October 2023 at Fort DeSoto Park in Pinellas County, FL. Standing at full height, I used Robus RC-5558 Vantage Series 3 Carbon Fiber Tripod topped by the Levered-Clamp FlexShooter Pro with the Sony FE 600mm f/4 GM OSS lens with the Sony FE 1.4x Teleconverter (at 840mm) and The One, the Sony Alpha 1 Mirrorless digital camera. Exposure was determined via Zebra technology with Exposure Compensation (EC) on the thumb dial. Shutter Priority -1/3 stop. AUTO ISO set ISO 100. 1/1000 sec. at f/5.6 (wide open). AWB at 7:36:11am with some light low clouds in the eastern sky. Tracking: Expand Spot AF/C worked perfectly. Click on the image to enjoy a larger, sharper, hi-res version. American Flamingo feeding at sunrise

Seeing the Shot

I was walking north when I spotted first two, then three flamingos foraging in the distance well ahead of me to my right. With light clouds on the eastern horizon, I knew instantly where I needed to be. I passed six photographers in a small group photographing the birds from a mile away in 100% boring light. I continued north until the birds were lined up with the rising by well-muted sun. From where I stood, I was able to shoot some pleasing blurs of the huge ten flocks further to the north before the sun broke through. When that happened, I turned to my right, lined the birds up with the brightest highlights on the water, raised the shutter speed from 1/30 second to 1/1000 second, and adjusted the EC. Bingo!

High Level Exposure Question

When evaluated in RawDigger, the raw file exposure was determined to be absolutely perfect despite the 171,00 over-exposed pixels. All are invited to leave a comment explaining why this was the prefect exposure for this situation. To arrive at the answer, ask yourself these questions:

1- Where were all of those OvExp pixels?

2- If all of the over-exposed pixels have been eliminated, what would the image have looked like?

High Level Mode Question

I state often that folks should be working in Manual mode for 95+ percent of their bird photography. Study all of the EXIF data and leave a comment letting us know why you think I was working in Shutter Priority with Exposure Compensation on the thumb dial. Note: there are other clues throughout this post.

Perspective Question

In this situation, why would getting very low have been the completely wrong option? This is an easy one.

How Did You Do?

I you are baffled by one or more of the questions above, if you want to learn to see the shot, and want to make yourself a better bird photographer, consider joining me on a DeSoto IPT. I am offering a $500 discount off the Fall #2 DeSoto IPT to anyone wishing to share an AirBnB with me.

All images from SEPT/OCT/NOV at Fort DeSoto. Click on the image to enjoy a larger, sharper high-resolution version. Clockwise from upper left to center: Piping Plover flapping after bath, juvenile Laughing Gull with feather, American Oystercatcher with sea urchins, Willet foraging in surf, American White Pelican juvenile swimming, skimmer/tern/shorebird blast-off blur, American White Pelican in flight, Black-bellied Plover stealing lugworm from Marbled Godwit, Roseate Spoonbill staring.

The Fall 2023 Fort DeSoto Instructional Photo-Tours

Fall 2023 Fort DeSoto Instructional Photo-Tour #2

3 1/2 Days: Tuesday 17 October through the morning session on Friday 20 October 2023. $1899.00 includes three working lunches. Limit six photographers.

Fall 2023 Fort DeSoto Instructional Photo-Tour #3

3 1/2 Days: Tuesday 31 October through the morning session on Friday 3 November 2023. $1899.00 includes three working lunches. Limit six photographers.

Fall 2023 Fort DeSoto Instructional Photo-Tour #4

3 1/2 Days: Tuesday 14 November through the morning session on Friday 17 November 2023. $1899.00 includes three working lunches. Limit six photographers/Openings: four.

Fall Bird Photography at Fort DeSoto

Fort DeSoto, located just south of St. Petersburg, FL, is a mecca for migrant shorebirds, terns, and gulls in fall. There they join hundreds of egrets, herons, and night-herons that winter on the T-shaped peninsula. With any luck at all, we should get to photograph one of Florida’s most desirable shorebird species: Marbled Godwit. Black-bellied Plover and Willet are easy, American Oystercatcher is pretty much guaranteed. Great Egret, Snowy Egret, Great Blue Heron, Tricolored Heron, and White Ibis are easy as well and we will almost surely come up with a tame Yellow-crowned Night-Heron or two. And there should be some quality Brown Pelican flight photography. In addition, Royal, Sandwich, Forster’s, and Caspian Terns will likely provide us with some good flight opportunities as well. Though not guaranteed, Roseate Spoonbill and Wood Stork might well be expected. And we will be on the lookout for a migrant passerine fallout in the event of a thunderstorm or two.

On this IPT, all 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. Everyone will learn how to approach free and wild birds without disturbing them, to understand and predict bird behavior, to identify many species of shorebirds, to spot the good situations, to choose the best perspective, to see and understand the light, and to design pleasing images by mastering your camera’s AF system. Most importantly, you will surely learn to evaluate wind and sky conditions and understand how they affect bird photography. And you will learn how and why to work in Manual mode (even if you’re scared of it). The 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 and whenever you photograph.

Clockwise from upper left to center: Long-billed Curlew, juvenile Tricolored Heron, Marbled Godwits, Great Blue Heron, juvenile Pectoral Sandpiper, Wood Stork, smiling Sea Scallop, Ruddy Turnstone scavenging needlefish, Great Blue Heron sunset silhouette at my secret spot, and southbound migrant tern flock blur.

The Details

There will be a Photoshop/image review session during or after lunch (included) each full day. That will be followed by Instructor Nap Time.

These IPTs will run with only a single registrant (though that is not guaranteed). The best airport is Tampa (TPA). Once you register, you will receive an e-mail with Gulfport AirBnB/VRBO information. If you register soon and would like to share an AirBnB with me, shoot me an e-mail. Other possibilities including taking a cab to and from the airport to our AirBnB and riding with me for $50/day. This saves you both gas and the cost of a rental car.

A $600 deposit is due when you sign up and is payable by credit card. Balances must be paid by check one month before the trip. Your deposit is non-refundable unless the IPT sells out with six folks, so please check your plans carefully before committing. You can register by calling Jim during weekday business hours at 863-692-0906 with a credit card in hand, or by sending a check as follows: make the check out to: BIRDS AS ART and send it via US mail here: BIRDS AS ART, PO BOX 7245, Indian Lake Estates, FL 33855. You will receive a confirmation e-mail with detailed instructions, clothing, and gear advice. Please shoot me an e-mail if you plan to register or if you have any questions on lodging.

Up Early, Stay Out Late!

Obviously, folks attending an IPT will be out in the field early and stay late to take advantage of the sweetest light and sunrise and sunset colors (when possible). The good news is that the days are relatively short in early fall. I really love it when I am leaving the beach on a sunny morning after a great session just as a carful or two of well-rested photographers are arriving. On cloudy days, we may — at the leader’s discretion, stay out in the morning for a long session and skip the afternoon session. To ensure early starts, breakfasts will be your responsibility. And so that we can get some sleep, dinners will sometimes be on your own as well.

Typos

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

What’s Up?

DeSoto was great this morning, Wednesday 4 OCT 2023. With a low outgoing tide, I’ve never seen the beaches so clean. There was not a speck of seaweed to be seen anywhere and there were barely any shells or other debris. The weather was gorgeous with a hazy sunrise followed by clear skies and sweet light. With a breeze from the east by slightly north, conditions for bird photography were close to perfect. In 2 hours 20 minutes, working first with the Sony 400mm f/2.8 and then with the 200-600, I created 1713 images and I kept 106. Join me on my laptop as I do the second edit. I wound up keeping 77 of those. In the video, I explain why I made my choices. Many more will bite the dust.

When commenting on sharpness with the 400mm f/2.8 and the 2X TC I meant to compare it with sharpness at 1200mm with the 600mm f/4 and the 2x (rather than with the bare 600mm.

Which of the keepers would you like to see on the blog?

The “why stop down?” issue will be addressed in the next blog post.

This image was created on 4 October 2023 at Fort DeSoto. Seated on dry sand, I used the handheld Sony FE 400mm f/2.8 GM OSS lens and The One, the Sony Alpha 1 Mirrorless Digital Camera). The exposure was determined via Zebra technology with ISO on the Thumb Dial. ISO 500. 1/2500 sec. at f/2.8 (wide open) in Manual mode. When evaluated in RawDigger, the raw file brightness was determined to be dead-solid perfect (ho hum). AWB at 7:37:15am early on a sunny morning. Tracking: Zone AF-C with Bird Face/Eye detection enabled performed to perfection. Be sure to click on the image to enjoy a high-res version. Image #1: Sandwich Tern, winter adult taking flight

One of My Favorites

Going with the 400mm f/2.8 and leaving the 600mm f/4 in the car makes it a lot easier to photograph flight and action. There is lots of that in the video with both the 400mm and the 200-600 as well.

Join me on Thursday or Friday

I even have room for you in my AirBnb in Gulfport for a night or two. Head home after the morning session on Friday 6 OCT The weather is looking excellent. I am offering thIn-the-Feld sessions for a ridiculously low price. Remember that you only live once. For details, shoot me an e-mail or text me on my cell phone at 863-221-2372. This gig includes a working lunch with image review and Photoshop lessons.

Click on the composite to view a larger version and be even more impressed. The Art & Science of Photographing Birds in Flight with the Sony α-1 e-Book/PDF link sent via e-mail: $150.00

The Art & Science of Photographing Birds in Flight with the Sony α-1

by Arash Hazeghi and Arthur Morris

First of all, if you use Nikon or Canon (or Olympus or Fuji) gear, do not be put off by the title. While a portion of the guide deals with the Sony α-1, there is a ton of priceless information, tips, and techniques that can help you become a better flight photographer. No matter what system you are using. If you do not use an α-1, be sure to read down to the bottom to save a few bucks.

Arash Hazeghi and Arthur Morris have created the definitive and most comprehensive ever treatise on photographing birds in flight. With more than sixty years of experience photographing birds, they know what you need to know but have not figured out yet! You will be astounded by the depth of their knowledge and the tips they have to offer. More than six months in the making, the guide contains 229 pages, 24,321 words,97 exceptional and inspirational flight images — each with a legendary, enlightening BIRDS AS ART caption, and 22 screen captures. The guide contains a wealth of useful, practical, and for the most part — never-before-available information.

Purchase

Click here to purchase your copy in the BAA Online Store.

What Everyone Will Learn

We will teach you the basic concepts that you need to master to become a great flight photographer along with the techniques used by the world’s best flight photographers.

You will learn that most any telephoto lens can be perfect for flight photography in a given situation; focal lengths for the images in the book range from 200mm to 1200mm and everywhere in between.

We discuss the merits of various lenses in depth, including and especially comparing the 400mm f/2.8 lenses with the 600mm f/4s.

We guide you in getting your hands on the flight photography lens that will best meet your needs. We offer a variety of handholding and rest position tips and include tips on working with a big lens on a tripod when working with a flight lens that is otherwise too heavy for you.

Both authors offer their thoughts on getting the right exposure when photographing birds in flight. You will learn to get the right exposure on foggy days and even when photographing black birds in white sky conditions.

You will learn the tremendous importance of pre-focusing, of finding the bird in the viewfinder quickly, acquiring focus almost instantly (with tips on doing all three).

You will learn the role of image stabilization in flight photography and the best settings.

Both authors share their thoughts on using the focus range limiter switch. In the same vein, you will learn to use Direct Manual Focus to make your flight photography life easier.

All will learn about the best wing positions and the importance of the background with images of birds in flight. With lots of examples.

You will learn about the best shutter speeds (and the best aperture) to use when photographing flying birds.

You will learn to photograph flight while seated and the many advantages of doing so.

You will learn the best methods of controlling high ISO noise.

All will learn to format their flash cards properly and safely.

You will learn what to do when your AF system is temporarily blinded.

All will learn the huge effect that wind strength and direction has on flight photography and to evaluate the quality and direction of the light on both sunny and cloudy days.

You will learn why it is vitally important to shoot aggressively when photographing birds in flight.

You will learn to carefully observe and evaluate a variety of bird behaviors that may shine light on some excellent opportunities for photographing birds in flight. And about getting into the best position from which to photograph.

You will learn to be a much better flight photographer.

What Sony Folks Will Learn

Exactly how Artie uses Zebras to come up with perfect exposure after perfect exposure.

The fine points and recommended settings for Optical Steady Shot (OSS).

The concept of Auto-Focus (AF) tracking in the α-1.

Everything there is to know about the complex Sony autofocus system.

About all the AF patterns, how to quickly switch them, and about those favored by each author. And why.

The Tracking and Non-tracking AF patterns. When and why Arash uses Non-Tracking Zone. And why Artie uses only two AF patterns.

How to set and use Bird Face-Eye detection for flight photography.

How and why to assign various custom functions to the various programmable buttons on the α-1 body.

The perfect settings for the many, many Menu items that are vitally related to flight photography.

How and why the Sony α-1 uses both contrast and phase detection AF to determine focus (and the benefits thereof).

Which are the best memory cards for the Sony α-1.

To quickly access frequently used menu items.

Non-Sony α-1 Discount

Using the honor system, folks who do not use a Sony α-1 body are invited to click here to save $25.00 on the purchase price of the guide.

Typos

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