Photographers: Luck is NOT a Strategy

Posted on May 11, 2012 by Master Photographer

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

When on my recent trip to Arizona, I encountered a photographer who was fully decked out in Camouflage. He was in a blind and had a Canon 1D MK IV with an 800mm lens. In other words, this guy was serious. I saw him at his truck so I walked up and introduced myself. I asked him what he was photographing. “Eagles!” he replied with enthusiasm.

Now I know a thing or two about photographing eagles so I was very surprised he was in Arizona in May trying to photograph eagles. I asked him why he was at that location and he simply said he was hoping to get lucky.

Okay – time to take a breath. There are about a dozen breeding pairs of eagles in Arizona. Unlike Alaska where there are literally thousands of eagles, Arizona has few. Moreover, the locations where these birds congregate were hundreds of miles from where I encountered my well-prepared new friend.

In other words, this guy had a better chance of seeing the space shuttle land in front of him than he did an eagle.

I tried to gently inform him that he was in the wrong place at the wrong time, but he would have none of it. He insisted he’s been lucky his whole life.

So – knowing there’s no way I would convince him otherwise I moved on. The temptation to laugh at this poor fellow is tempered with my pity for him. He’s spent a bunch of money on top-quality gear. He’s devoted himself for the weekend to sitting in a hot blind. And he’s got no shot at all of getting an eagle picture.

But I try to find something positive in every negative. He will at least have some experience setting up and handling his gear. And I can use this encounter to hopefully teach others that luck is not a strategy.

Do your research. Whatever your subject, eagles, bears, little kids, CEOs, do your research. Right time and place have a great deal to do with success in photography. Don’t depend on luck. Depend on common sense, research, and lots of experience.

Photographing Hummingbirds in Madera Canyon Arizona – Part II

Posted on May 7, 2012 by Master Photographer

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

Before I get into my setups I thought I’d mention the species I photographed in Arizona. I got lots of broad-billed hummingbirds. I happen to think they are the prettiest of the North American species. There were also lots of black-chinned hummingbirds. The most skittish, and the hardest to find and photograph were the magnificent hummingbirds. They are really shy. I also got some blue throat hummingbirds. Down low in the canyon I got costas hummingbird.

Using your hand to gauge exposure is often the best way to make sure you are holding the highlights and have an exposure that’s even with the background.

In order to photograph these birds you’ll need to set up native plants and feeders in the area. It’s best to use the kind of feeder that doesn’t offer a perch. This increases the chances of getting shots of the birds in flight. You can use native flowers to disguise the perch.

Photo Courtesy of Robert O’Toole

You’ll need an abundance of c-clamps, articulating arms, light stands and dows to hold your backgrounds. A tripod with a gimbal head works best for me. You’ll also need flashes.

Don’t laugh – this was our practice bird. We used him to set up our lights and test exposure.

In case you’re wondering, the flashes don’t usually bother the birds one bit as long as you don’t overdo it. Also, it’s best to completely avoid using flash on hummingbirds that are sitting on a nest. This can overheat the bird. They run very close to the edge at all times so any extra heat can be damaging. For most birds, as in almost every other species, flash is NEVER a problem. But with hummingbirds, it’s more troublesome if they are nesting and a few species are spooked by the flash. So don’t overdo it.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

I made sure the flashes evenly lit the background. The camera is set to manual mode and the ISO is set according to conditions. Usually ISO 200 in sun – 400 in shade. The shutter speed should be set to the highest the camera allows when using flash. Usually 1/125 to 1/250 of a second. Consult your camera manual to find out which shutter speed your camera uses. Then stop down the aperture to somewhere between f/19 and f/22. Since I was pre-focusing on the edge of the feeder I needed lots of depth of field. After that, it’s like all other bird photography. Hurry up and wait. In Arizona you might see one bird an hour or hundreds. Unfortunately, they don’t come just because you want them to.

I have also been able to get the birds using autofocus on the 5d MK III. This is remarkable to me because I’ve never been able to get AF to work on something this small and fast.

A handheld light meter also comes in hand when setting the flash exposure.

It seems best to work with the background backlit. That way you can establish a shady place to sit and for the birds to perch. The males in particular don’t seem to like to come out into the sun since that makes them easier to spot. I used backgrounds ranging from poster board purchased at a local art store to painted backgrounds. It doesn’t really matter as long as it isn’t distracting.

Here’s a typical setup with our background and feeder.

On the second phase of the trip I switched to Quantum Q-flashes with Quantum battery packs. These worked MUCH better than the Canon flashes. They are larger light sources since they come with built in reflector cans and are therefor more forgiving. They are also more powerful, recycle faster and just seem to throw off a prettier quality of light. In most of the successful setups I only needed three flashes – occasionally I used four of the Quantums. They are more expensive than the Canon flashes but more versatile and I enjoyed them so much I’m going to use them in the future.

The overall setup…

Most of this boils down to patience. You have to be VERY patient – sometimes waiting an hour to see a bird. You have to be ready at all times and you have to be still and quiet. Most of the interns I’ve worked with can’t meet those criteria When the hummingbirds come in, you literally have a few seconds to get the shot. And you don’t get many second chances.

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

I was severely tasked during this shoot. I had no trouble getting the perched or nested birds, although this was more challenging than usual since these critters are so small. With perched and nesting birds, I used natural light. But the flight photography was really difficult and in my case, required multiple flashes. I have to try this again and again in order to get really good at it. But it was fun, and I did get some images I am proud of.

If you’re looking for a challenge, go find some hummingbirds. Bring your camera, lots of light and lots of patience and good luck.

I hope you enjoy the pictures and want to encourage you to give this a try yourself if you have any interest.

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2012 Eagle Trip Wrap Up

Posted on April 11, 2012 by Master Photographer

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

2012 Alaska Eagle Trip Wrap Up

This is my final post about this year’s eagle trip in Alaska.

This year’s eagle trip had the usual themes for me. I got to spend time in some of the most beautiful outdoor scenery in the world. I got to spend time helping a friend. I got to spend time with friends. I got to make new friends. I got the chance to tell the story of the eagles with my camera. I got to preserve moments in time that will last beyond my time here.

This year, I figured out that concentrating on type of shot, i.e., perched, flight, fight, prey, etc., at a time yielded the best results.

As with every trip I take these days, I discovered that taking less and less gear is always the best policy. I had lots of cameras and lenses with me but only took one or two into the field. This helped reinforce my policy of concentrating on one thing at a time. I’m doing some of the best photography of my career right now and I can tell you for sure that I am carrying less gear than ever.

In the past, I would have missed several shots due to gear wrangling and the associated hassles that come with that. This year, there were days where I simply went out on the boat with one camera and one lens and a card wallet and I got great stuff.

The irony is that I own every single photo gadget known to man, but I find myself using most of it less and less.

In fact, next year my plan is to bring not one piece of gear WITH me. I’m going to have Borrowlenses.com ship EVERYTHING I need for the trip. As they did last year, I had them ship backup stuff so in case something went south I was ready. But now I am convinced I can have them take care of all of it which means no hassle with planes, or worrying about gear being stolen or damaged by TSA, baggage handlers, etc.

I also did something this year that I usually advise people NOT to do. I took cameras that I was totally unfamiliar with and used them in a critical shooting situation. The good news is that the new cameras I was testing, primarily the Canon 5D MK III and the Nikon D4, performed so well there were no worries.

This year’s eagle trip was great. I continue to face medical challenges that makes these trips harder and harder but I feel worse if I do NOT go so – I go.

My admiration and respect for the people who live and work here full time continues to grow. It’s a tough environment with harsh weather, a difficult economy and a certain sense of isolation. Yet almost everywhere I went I was enthusiastically greeted and warmly received.

I have some of the best guides around helping. And I am now so confident in my abilities to get great eagle shots here that I plan to offer a workshop/tour this time next year with my pal Robert O’Toole.

We’ve done a great deal of scouting and secured permits, licenses, guide and outfitter relationships and can actually guarantee people that we can put them in close proximity to eagles.

If you like the pictures I’ve been posting from this trip stay tuned. I’ll guarantee anyone who knows how to operate their camera portfolio-quality eagle pictures if they come on my workshops here next year. I’ll have more information soon. I’m first making these workshops available to my core supporters. If there are any spots left I’ll mention them here. If you’d like to be notified by email, send me notice to photofocus@me.com.

I want to thank my guides and the people of Alaska for another great experience. And most of all, I want to thank the eagles who allow me to tell their stories and love them. It’s an honor to speak for the birds.

2012 Eagle Trip Wrap Up

Posted on April 11, 2012 by Master Photographer

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

2012 Alaska Eagle Trip Wrap Up

This is my final post about this year’s eagle trip in Alaska.

This year, I figured out that concentrating on type of shot, i.e., perched, flight, fight, prey, etc., at a time yielded the best results.

The irony is that I own every single photo gadget known to man, but I find myself using most of it less and less.

This year’s eagle trip was great. I continue to face medical challenges that makes these trips harder and harder but I feel worse if I do NOT go so – I go.

We’ve done a great deal of scouting and secured permits, licenses, guide and outfitter relationships and can actually guarantee people that we can put them in close proximity to eagles.

Photofocus Podcast 107

Posted on April 5, 2012 by Master Photographer

NOTE NOTE NOTE NOTE NOTE: The Photofocus Podcast Feed HAS CHANGED!

Here is the new feed: feed://feeds.feedburner.com/photofocuspodcast

PLEASE BE PATIENT – OUR SERVERS SEE LARGE LOADS ON PUBLISHING DAYS. THE DOWNLOADS MAY GO SLOWLY BUT THEY WILL FINISH.

Download episode…

Sorry we’re no longer providing show notes.

Hosted by Rich Harrington – guest hosts Scott Bourne, RC Concepcion.

Bad Weather Means Getting Creative – Alaska Eagle Trip Report – Part 2

Posted on March 30, 2012 by Master Photographer

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

See the EXIF data below…

I’ve been in Alaska for almost a week. I head home today. While in Alaska, we’ve had everything from bright sunshine, to snow, to rain, to sleet, to dark ugly skies. On the last day of the trip, we had ugly, rainy weather. The choices are stay in the hotel or go out and shoot. I went out to shoot.

One of the things I like to do when there is poor light is use it as an excuse to get creative. Since there was no reason to try to shoot eagle portraits or fishing, I decided to do pan blurs.

Working with slow shutter speeds, I panned with the birds as they flew past me. Using shutter speeds between 1/15th and 1/50th of a second (in shutter priority mode.) I simply tried to keep the birds in the frame. The chances for success improve if you have the birds flying across your field of vision as opposed to right at you.

It usually takes several tries to get something that is both artistic yet still recognizable as a bird. It’s not everyone’s cup of tea, but I consider this art so in my mind, anything goes. And it beats sitting in the hotel when you know there are hundreds of eagles nearby!

I made several attempts over a three hour period and the image above is my favorite.

Give this a try the next time you’re faced with less than optimal conditions. Who knows, maybe you’ll get something that you like?

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2012 Alaska Eagle Trip Report – Part I

Posted on March 29, 2012 by Master Photographer

If you’ve been paying any attention to my feed you’ve probably surmised that I am currently in Alaska. I am up here for the second year in a row to photograph bald eagles.

I’m here this time to accomplish different goals than the last time. On this trip I am helping a friend, reviewing cameras, working on an assignment, planning some new workshops and shooting almost exclusively on still cameras.

The last time I was here I shot more video than stills. It’s MUCH easier to just shoot stills. The experience from the last trip convinced me that the folks who shoot video full time deserve a bunch of respect. It’s hard, hard work.

On this trip I have been able to concentrate on various aspects of eagle photography. In this post I’ll show you some pretty pictures like I always do, but I’ll also show you some of the failures. I learned a bunch from seeing Scott Kelby do this on some of his recent assignments so I thought it might be helpful if I did the same.

I’ll have at least one more post wrapping up the trip but for now, look at what’s gone wrong
NOTE: All photos by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons – all photos imported into Aperture, cropped or straightened, edge sharpening added – no other post corrections made.

Eagle too low in frame.

Eagle correct height in frame.

Eagle wing clipped outside frame.

Eagle wing not clipped.

Eagle head turned off camera axis.

Eagle head turned properly in relationship to camera axis.

Shot flawed by nictitating membrane

Better shot minus nictitating membrane.

Eagle’s head merges with horizon – not salable.

Eagle’s head does not merge with horizon – makes it salable.

Seven Things I Wish I’d Have Known When I First Became A Photographer

Posted on March 19, 2012 by Master Photographer

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

They say you master something once you’ve made 10,000 mistakes doing it. If that’s true, then I must be a Grand Master at photography because I seem to have found a way to make 20,000 mistakes. As I talk with young people about photography some of the same misconceptions and questions come up over and over and I realized – I wish someone had taken the time to sit me down and share a few things with me when I first started out that would have saved me at least 5,000 of those mistakes. So here goes nothing. I’m going to let you know what I would have liked that advice to be.

1. Do not spend any time making serious photographs if you are not seriously passionate about it. Every bad photo I ever made started going bad because I wasn’t really into it. I was just going through the motions. It’s like kissing your sister so to speak. You have to care about what you are photographing, how it comes out and what story the image tells or you’re going to be disappointed.

2. Understanding how your camera REALLY works, as in every button, every switch, every menu and sub menu and sub, sub menu, will save your bacon over and over and over. The camera needs to be an extension of your eye – not something that gets between you and your subject. Learn how to use your camera and stop changing systems so often in the great hope that the NEXT big thing will make you better. It won’t. Learning how to get 100% out of what you have right now WILL!

3. Speaking of gear, focus as little as you can on gear and as much as you can on your subject, their story and how you’re going to share it. The “hey you take good pictures – you must have a good camera” line gets old. I guarantee you that it’s not the camera that makes the shot – it’s the photographer. It took me a VERY long time to figure this out. As a geek and a tech head I kept jumping into the science side of photography and the gear and the gadgets thinking THAT would save me. It didn’t. It sent me backwards. I now realize the gear is nothing more than the hammer looking for a naill.

4. Find the light first, the background second and the subject third. This statement will be controversial to many of you – some of you will yell at me because I said it. That’s because you haven’t made the 10,000 mistakes I had to make to understand it so go ahead and yell, but once you stop yelling pay attention and you’ll save yourself some pain. EVERYTHING starts with light. I can have the prettiest subject in ugly light and get no shot. And if the background is distracting, nobody notices the subject. So start with great light. Seek it out. Know it. Search for and yearn for it. Love it. Bathe in it. Dream about it. Then go find it in front of a nice clean background and THEN put your subject right there. You’ll win every time you do that.

5. If you photograph people or make pictures professionally understand that being nice is better than being good. When I listen to the people who primarily buy photographs (women are responsible for most portrait session purchases) they constantly refer to their photographer as nice. I rarely hear them say that he/she is good. My point is not that you don’t have to be good – you do. But concentrate on being nice. It took me far too long to realize how important this is and I am STILL working on it – as many of you can attest.

6. The best photographs in the world happen when the photographer or the subject or the viewer or some combination of the three are in a place where there is solid, real emotion and/or love. I know this sounds corny but if you can learn to love the subjects you photograph, you’ll take more care and make fewer mistakes. If you find real emotion in your work, you’ll cause others to feel those emotions. Thinking this doesn’t matter is the biggest photo-related mistake you can make. It took me 10 years of photography to understand this. Hopefully (and likely) you are smarter than me and you’ll get this right sooner than I did.

7. I have to stop this list somewhere so I’ll stop here with this. Understand that serious photography is about protecting memories, telling stories, keeping moments in time that have passed alive for the future and sharing all of the above. If you can think about that every time you press the shutter, you’ll make fewer mistakes and become a great photographer.

If I could have had this conversation with myself 30 years ago, I’d have become a good photographer MUCH sooner. I hope I at least helped you do that because it’s too late to do it for myself. I had to bungle through this crap on my own. No wonder I”m considered “cantankerous!”

Best wishes!

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How To Find The Story In Your Photograph

Posted on March 14, 2012 by Master Photographer

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

One of my favorite blogs is OneWildWord.com.

While the ladies who run the site are posting information for writers, I often find that what they post could be used by photographers too.

Take this post for instance – Find your real story by asking these questions - If you simply think of these questions in terms of photography, you’ll find a quicker and better understanding of the concept of photographic storytelling.

I’ll mash this up and create my own list based on Carol Despeaux’s list.

# What story do I want to tell? (Because we all have so many stories inside us).
# What details in the scene in front of us relate to the story’s main theme?
# Is there enough information to create an entire picture story? (5-7 shots that viewed together tell an entire story)
# What items in the viewfinder do NOT relate to the story? Remember, the difference between an amateur and a professional photographer is often the fact that the pro knows what NOT to include in the picture.
# Will the average person who views the photograph without any caption or backstory know what it’s about?

In my mind, as a photographer, there are few things more powerful than a picture story. Use these ideas to jump start your own photographic storytelling and hat tip to onewildword.com for the inspiration that led me to this post.

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Photography Composition Basics – Balance

Posted on March 13, 2012 by Master Photographer

Photo by Scott Bourne – Attribution-NonCommercial-NoDerivs Creative Commons

One of the most enduring themes in art is the concept of harmonious balance. Balance is something the human eye just naturally gravitates to. It’s something that is automatically pleasing to most people.

When you’re composing a shot, look for ways to introduce this concept. It can be done using many of the traditional “rules” of photography such as iteration, repetition, rule of thirds etc.

In the image above, I introduced simple balance into my composition by shooting the two birds perfectly juxtaposed against each other – side-by-side but facing away from each other.

It’s no Pulitzer-prize winning photo, but for the purpose of this brief tutorial, it should give you some ideas on how you might introduce balance into your next image.