http://www.johngoodayphotography.com/owls daily 0.75 2014-11-20 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416500036297-BX2QHSC9S7GFZUXCWXH9/D70R8662++Website.jpg owls https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416500036297-BX2QHSC9S7GFZUXCWXH9/D70R8662++Website.jpg owls https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416500691649-ZVQGYRV0KZMASRGXEYD6/Tawny+owl+8+bit+sRGB+DIGIMARC++D70R8641++Website.jpg owls https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416500697261-KIAF6K00JPEO0TRK453C/tawny+owl+16+bit+AdobeRGB+D70R8782++Website.jpg owls https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416499843272-J6D56PAHYDIN7XMGE7CA/_70R9463++Website.jpg owls https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416500690961-E8EET8BEGFGIN81QYDB9/Tawny+owl+8+bit+sRGB+-7266++Website.jpg owls 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https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416500675667-KZ2ZL44EA9YQVX5I023J/scops+owl+8+bit+sRGB++_70R7631++Website.jpg owls http://www.johngoodayphotography.com/photographs/birds daily 0.75 2017-01-18 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483893862579-R4AVR8X8JZUR0BTAO264/Puffin+flying+back+lit+lab+color_70R7232++Website.jpg Birds - Golden flight Backlighting can make flight shots more dramatic - especially if the bird has a dark background behind it. When setting the exposure (I usually shoot in manual mode for flight shots) the aim is to get a setting that just allows a little clipping in the backlit white feathers (see the Puffin's shoulders) but nowhere else. Use your camera's highlight warning function (the setting that makes blown highlights flash red when you review the image on the back of the camera) to tweak the exposure settings during test shots. A dark background such as a hill or rock in shadow, with the sun behind and above, will emphasise nice light through the feathers. Where you take the picture depends on where this nice light occurs - I had to change to a 500mm lens as 300mm was a little short to catch the backlight which occurred when the Puffin was a bit far out. You'll need to position yourself so that the backlight hits close to landing points if you want to catch the outstretched wings just before landing. As the light moves, you'll have to move your camera and shoot different areas. The aperture you select will determine how much of the Puffin is in focus - with the 500mm on a full frame body I found f/5.6 to f/8 gave me a good area of focus from the head to the feet (f/4 left the feet blurred). With a shorter lens, obviously a larger aperture would be needed. These images work best at the end of the day when the light is relatively subdued in brightness. Unfortunately, you'll find that the exposure to keep the wings correctly lit will result in the rest of the Puffin being underexposed. There little than can be done about this (well, actually I have a rather elaborate and cunning plan for next time which I'll document if it works) save boosting the lower mid-tones in post processing. For this reason, a camera that performs well at high ISO is a real benefit as amplifying the dark areas of the bird will also increase the visibility of any digital noise in these areas. Canon EOS 1DX, EF500mm f/4L IS II, 1/2000 sec, f/5.6. ISO 1600 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483893862579-R4AVR8X8JZUR0BTAO264/Puffin+flying+back+lit+lab+color_70R7232++Website.jpg Birds - Golden flight Backlighting can make flight shots more dramatic - especially if the bird has a dark background behind it. When setting the exposure (I usually shoot in manual mode for flight shots) the aim is to get a setting that just allows a little clipping in the backlit white feathers (see the Puffin's shoulders) but nowhere else. Use your camera's highlight warning function (the setting that makes blown highlights flash red when you review the image on the back of the camera) to tweak the exposure settings during test shots. A dark background such as a hill or rock in shadow, with the sun behind and above, will emphasise nice light through the feathers. Where you take the picture depends on where this nice light occurs - I had to change to a 500mm lens as 300mm was a little short to catch the backlight which occurred when the Puffin was a bit far out. You'll need to position yourself so that the backlight hits close to landing points if you want to catch the outstretched wings just before landing. As the light moves, you'll have to move your camera and shoot different areas. The aperture you select will determine how much of the Puffin is in focus - with the 500mm on a full frame body I found f/5.6 to f/8 gave me a good area of focus from the head to the feet (f/4 left the feet blurred). With a shorter lens, obviously a larger aperture would be needed. These images work best at the end of the day when the light is relatively subdued in brightness. Unfortunately, you'll find that the exposure to keep the wings correctly lit will result in the rest of the Puffin being underexposed. There little than can be done about this (well, actually I have a rather elaborate and cunning plan for next time which I'll document if it works) save boosting the lower mid-tones in post processing. For this reason, a camera that performs well at high ISO is a real benefit as amplifying the dark areas of the bird will also increase the visibility of any digital noise in these areas. Canon EOS 1DX, EF500mm f/4L IS II, 1/2000 sec, f/5.6. ISO 1600 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1484776275653-KHMRFYW3JHX82QTDVIKG/starling+lab+color+_70R5127++Website.jpg Birds - Radient Common Starling lit by polarised and green tinted light reflected from the surface of a pool. When light is reflected fromflat surface it is polarised in a single direction - this can often make the colours in birds wings really stand out. You can see all this light at work in the image of the Starling here - the bird seems to radiate colour where we normally see muted tones that appear more grey. There is a large pool in front of the Starling, just out of shot. The sunlight from behind-left bounces off of this and brings out the breeding season colours pf the oils in the feathers. Canon EOS 1DX, EF500mm f/4L IS II, 1/100th sec, f/5, ISO 1600, tripod, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1484774488741-A1RLRXKZETUADE0KF13J/herons+fighting+at+night+lab+color+_D5A6994++Website.jpg Birds - Night Fighters Two Grey Herons fighting at night on a partially frozen lake. This is a shot that I've been planning for a while (and it took a few goes to get it right). The Herons are strongly lit from behind with a constant bright light, leaving the side facing the camera dark. Flash is used to light the dark side, freezing the facial expression and details on the birds with its relatively short duration. Meanwhile, setting a lowish shutter speed means that those parts mainly lit by the back light are slightly blurred to (hopefully) convey a sense of motion. Here is the recipe... You will need: - 2 quite angry birds - 500kg of fish (I spent most of a week trying to get this shot - herons eat a lot of fish) - 1 x 1000W tungsten spotlight mounted behind and above the birds, out of shot - 2 x Profoto B2 flashes (or similar short pulse flash guns), one set about 1 stop lower than the other to create depth in the lighting - A camera that's good at high ISO (I used a Canon 5D Mark III) - A medium aperture lens with as wide an aperture as possible (I used a -Canon 70-200mm f/2.8 L IS II at 190mm) - A fair amount of patience Cooking instructions: 1/100th sec, f/2.8, ISO 2000   Canon EOS 5D Mk III, EF70-200mm f/2.8L IS II, 1/100th sec, f/2.8, ISO 2000, 2 x Profoto B2 flashes, 1 x 1000W tungsten spotlight, tripod, hide . https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1484774805770-JSVHJ3MA7KFCM0JETQXG/hoopoe+lab+color+_70R3945++Website.jpg Birds - Feeding time Working with wild animals, one thing that you soon learn is that they won't quite do what you want them to. A family of Hoopoes that I've photographed for the last couple of years in Koros-Maros National Park, Hungary were no exception to this. Eschewing various scenic nesting sites, they had decided to make their home in a secure but decidedly unattractive metal oil drum on a disused airfield for several years. This year I decided to improve the oil drum location before the birds returned from overwintering in Africa. The nearby forests have plenty of fallen trees with peeling bark, so with Zoltan Pabar, my friend and owner of the excellent Hungarobirds bird tours and guiding service. The bark was then screwed onto a wooden frame in which there was a gap for the nest hole. This fake tree should be put in place early in the season, before the birds have nested - Hoopoes had been nesting in the oil drum for several seasons so it was likely that they'd use it again this year, which proved to be the case. There are half a dozen oil drums on the airfield - we left all but one untouched (there are normally Hoopoe nests in several drums every summer) just in case they didn't like the alterations. In fact, the Hoopoes seemed quite happy with their oil drum make-over. In this shot the young Hoopoe is inside the drum and is poking its head through the entrance hole in the fake tree. Canon EOS 1-DX, EF500mm f/4L IS II + 2x Mk III, 1/1250th sec, f/10, ISO 2500, tripod, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1419806943802-36JQZ929JS7A4ZXIOKYZ/Agency+Images+-7244.jpg Birds - Droplets Close-up of a mute swan. I'm lucky enough to travel to all sorts of overseas destinations for my work, but this image was shot at a small lake less than a mile from my home. When taking pictures of a very commonly photographed subject, it can be a bit of a challenge to come up with something eye catching. One technique that can liven up an image is to to focus on a small area showing detail that isn't normally noticed. When doing this with wild animals, a long telephoto lens keeps you out of pecking range. Canon EOS 7D, EF100-400mm f/4.5-5.6L IS, 1/400n sec at f/6.3, ISO 250   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418828373313-BH69IE987MY5XCSH0CU9/image-asset.jpeg Birds - Shoo-shoe! A Nuthatch on top of an old, weathered boot. The shoe was filled with seed to attract the bird and placed on a raised table with a sprinkiling of earth into which grass was planted. The image was photographed using a relatively small aperture to ensure that the shoe and bird were all sharp. In order to get a pleasing background when focusing at f/8, the lens was used at it's minimum focus distance and the background (woodland foliage) was as far behind the bird as possible. Canon EOS 5D Mark III, EF100-400mm f/4.5-5.6L, 1/160 sec @ f/8, ISO 1600, tripod, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413588612284-8B6P6RR8TKZVOJPRH3HA/image-asset.jpeg Birds - Evening encounter Two Grey Herons fighting at sunset. Silhouettes need to be pin sharp - there's no detail in the subject, so the viewer's eye is drawn to the outline and soon spots any softness there. Shooting at dusk makes life a little more interesting by giving a saturated canvas to work on. Underexposing the image by 1 - 2 stops really emphasises the oranges and yellows. Setting white balance to 'cloudy' will add further saturation of the oranges, yellows and reds (and because the birds are silhouettes, there's no issue about them taking on an unnatural hue). Wide aperture and high ISO are required in low light conditions like these to allow a high shutter speed. Fortunately, herons are relatively slow birds in flight so 1/1600 sec was fast enough to capture a sharp image. Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II, 1/1600 sec @ f/2.8, ISO 3200, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418836991828-CV95E4M8DLJG613RTBCD/image-asset.jpeg Birds - High and dry A Kingfisher grapples with a catch on a mossy branch. Getting close to a Kingfisher can be problematic as they can be quite shy. Using a long lens is usually the order of the day - the longer the better. My longest lens is 500mm, so increasing the focal length with matched extenders is a good way to go. Not all lenses accept extenders - generally only the higher quality 'professional level' telephotos. Usually, prime (fixed focal length) lenses give better results than zoom lenses. In the last couple of years, Canon has significantly improved the performance of its lenses when coupled with extenders. The latest mark II 200 f/2, 300/ f/2.8, 400 f/2.8, 500 f/4 and 600 /f4 telephotos have virtually no image quality loss when paired with the newest Mark III extenders (the improvement over earlier models is impressive). Using an extender reduces the amount of light reaching the camera sensor - 1 stop for a 1.4 x Extender, 2 stops for a 2x. Fortunately the latest generation of camera bodies have ever better than ever high ISO performance so this is no longer the problem it once was. Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/320 sec @ f/6.3, ISO 2500, tripod, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413587557400-MP3OBDWHT7XPY3V6YD1C/night+heron+16+bit+AdobeRGB++_70R3887++Website.jpg Birds - Extreme fishing #1 In the early hours of the morning, Kiskunsagi National Park in Hungary is full of activity. Here, a Black-crowned Night Heron catches a fish in one of the many marshland pools. One of the biggest problems of shooting at night is that there's just not enough light to see your subject well enough to focus, let alone capture an image. Flash can provide enough light to take a picture, but doesn't solve the it's-too-dark-to-focus problem. In this shot continuous lighting was used as an alternative to flash. Halogen floodlights were placed on top of the hide to illuminate the area that the birds used for fishing. High ISO and a wide-aperture lens allowed a shutter speed high eneough to freeze the action (but only just!) and using a state-of-the-art full-frame camera kept image noise within acceptable limits. The camera white balance was set manually to compensate for the colour cast from the lights. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/500 sec @ f/2.8, ISO 1600, tripod, hide, 2 x 1000W halogen floodlights   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413588706486-YECESHZ5X6KA37AWCMYR/_70R6313.jpg Birds - A sideways look at life A Little Owl peers out from a hollow. This image was shot at a workshop in Gloucester, England. With captive birds, it's very easy to shoot frame filling head-on close-ups. Sometimes changing perspective is all that's needed to get a more interesting shot. Using a super-telephoto lens at maximum aperture allows selective focus on the bird while nicely softening the background and bark of the tree. Canon EOS 1DX, EF500mm f/4L IS II, 1/800 sec @ f/4, ISO 800, tripod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413588739242-I1ZDV8JJ2JUUP8X6BDSC/heron+head+8+bit+sRGB+_MG_2899.jpg Birds - Bending low A Grey Heron explores the shallow waters at the edge of a pool. I liked the shape that the heron's head and neck made as it searched the water, so I shot a close-up that removed other elements from the image. It also had the advantage of cropping out the drab grey February sky. A wide aperture blurred the golden reedbed in the background while the low shooting position helps the viewer connect with the bird's world. I shot this with my back-up camera as it had the right length lens attached at the time. With a crop-sensor model like the Canon 7D, high-ISO image noise is much more apparent than on full-frame sensor cameras so I kept the ISO low. Canon EOS 7D, EF300mm f/2.8L IS, 1/1000 sec @ f/3.2, ISO 500, tripod, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413588765885-5K30KZTZ1J8LMEUTO6LR/Buzzard+silhouette+8+bit+sRGB++shoot-5829.jpg Birds - Waiting for the night A Common Buzzard silhouetted at sunset (confusingly for American readers, a Buzzard is actually a type of hawk over here in Europe). The image was deliberately underexposed to increase colour saturation and the white balance on the camera set manually in order to get the blues to stand out more. Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II, 1/80 sec @ f/4, ISO 500, tripod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1484775731869-2FCD9OFY4FKSJ8JWJ68M/heron+and+egret+lab+color+_70R7535++Website.jpg Birds - Daylight fish robbery A Great Egret steals a fish caught by a Grey Heron. I specifically set out to get images of fighting water birds. From previous visits to Kiskunsagi National Park, hungary in winter, I'd seen that the birds frequently battled over the well-stocked marsh lake. These arguments erupt and end suddenly, and with 30 or more birds in the immediate vicinity of the hide it can be a little daunting to try and work out which might fight (and so which to follow in the viewfinder... and when). For me, the best preparation for this sort of shot is to photograph in the same place for several days. On this occasion, I found it helped to avoid photographing fighting at first, taking time to just watch what was happening instead (you can miss a lot if you spend all your time glued to the camera eyepiece!). After doing this for a while (taking a few portrait shots in the meantime - it's hard to resist photographing when there are subjects just in front of you), I started to get a feel for how the birds behaved just prior to a fight breaking out, and the likely spots for fighting (some parts of the water attracted a higher density of birds which resulted in more fighting as they clambered for position. I started photographing the action towards the end of the second day and continued for 5 days in total. When I found a pair of birds that I thought might be about to fight, I locked an initial focus point onto them, then released the AF and waited. When they started to fight I activated the AF again and, when (or should that be 'if', as it's not always easy...) I got a lock, shot, following the birds and keeping them in the centre of the frame as best I could. I used a rigid tripod with a Uniqball head set to tilt/pan only. Canon EOS 1-DX, EF70-200mm f/2.8L IS II, 1/1250th sec, f/3.2, ISO 640, tripod, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413588843596-GAUNHAL1OPGY4DH021C7/starling+and+rain+8+bit+sRGB+_D5A2312+as+Smart+Object-1.jpg Birds - Raindrops keep falling on my head A Common Starling on a damp English spring day. Starlings are much more colourful than people think. They're always on the move and this somehow makes the colours on their coat merge into a uniform dark grey. But if you freeze them with a camera, the blues, and purples stand out - especially if there is a reflective light source underneath them. In this shot, light reflecting from a pond just below the log adds the magic (a blanket of snow works even better). I'll let you into a trade secret... the raindrops are actually spray thrown up by other starlings washing in the pond just out of shot. A reasonably high shutter speed (1/250 - 1/400) retains the roundness in the drops - with a slower shutter you'll just get long streaks, while a faster setting will remove the slight blur that contributes to the feeling of motion. Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/320 sec @ f/4.5, ISO 1250, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413588900939-J7109L9SFENF5WRUBS9M/Reed+bunting+16+bit+AdobeRGB++_D5A9044.jpg Birds - Balancing act A male Reed Bunting clings onto a reed stem. Sometimes it's worth taking the extra effort to get down low for a shot. I spend a disproportionate amount of my life crawling around on my stomach at the edge of pools, lakes and streams. Getting down to the subject's level connects the viewer to the animal. You're also a lot less likely to show up in any reflections if you're nice and low down. Canon EOS 5D Mark III, EF500mm f/4L IS II + 1.4x II, 1/400 sec @ f/6.3, ISO 1250, tripod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413588930213-40WD4Q8TST204SJ85J81/Hoopoe+and+lizard+8+bit+sRGB++IMG_0194.jpg Birds - Lizard for lunch A Eurasian Hoopoe with a freshly caught lizard. The Hoopoe was bringing food back to its nest (a rather unphotogenic concrete drum just below shot) every 15 minutes or so. It completely ignored the pop-up hide that I was hidden in a few meters away, which made my job pretty straightforward. Hoopoes are mid-sized birds, so to keep the beak, body and head crest all in focus the lens aperture was stopped down to f/5.6. On a dull Hungarian early morning, this meant using a higher ISO than I'd have liked so that the shutter speed could be kept high enough to avoid motion blur. Fortunately a combination of full-frame sensor and exposing to the right kept the digital noise at bay. Canon EOS 5D Mark II, EF300mm f/2.8L IS, 1/800 sec @ f/5.6, ISO 2000, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413589531877-Q7JM54I2P1Q14V8QY8ZL/whiskered+turn+16+bit+AdobeRGB+_70R9340++Website.jpg Birds - Final approach A Whiskered Tern coming in to land on Lake Tiza, Hortobagy National Park, Hungary. The birds make their nests on lily pads floating far out in the lake, safe from land-based predators. Spending a while watching your subject before beginning to photograph can make life a lot easier. By watching how the birds flew I was able to see at what point above the water they stretched out their wings to brake, so when I was ready to photograph I knew when the best time to take the shot would be. As the Terns came in quickly, I set a high shutter speed to avoid blurring them. It was then a case of picking a single bird and following it, keeping a focus point on the head. On the Canon 1DX, setting all focus points active and choosing the initial point to start tracking (iTTR mode) when it's on the head is usually the most reliable method - the 1DX has an exceptional autofocus system and can track a moderately fast bird well. When I use a Canon 5D Mark III (and most other cameras) I set a single focus point, usually at the centre of the frame, and try to keep it on the birds head. Most people find this takes a bit of practice, so don't give up if at first you don't get sharp images. (Nikon D4S/D810 users may find that zone mode will work best for them). Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/2000 sec @ f/8, ISO 800   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413589125625-5N3YE25HAVQXW9GXCE3Y/image-asset.jpeg Birds - Home sweet home A Hoopoe stands in front of its nest hole with a beetle. I'd set up my main camera in a hide a few meters from the nest. To try and get shots with a variety of backgrounds I also positioned a second camera outside the hide, facing a different direction. This was linked to a Camranger wireless remote control which relayed back the image from the camera's live view to an iPad inside the hide. Camranger allowed me to set focus, aperture, shutter etc. wirelessly on an iPad. Unfortunately, the position of the camera was fixed and the Hoopoe flitted to and from it's nest without stopping in the right place. After a few hours, the Hoopoe finally landed right in front of the remote camera with its crest raised and I was able to take this shot. I used the silent shutter mode of the Canon EOS 5D Mark III, which is whisper quiet:- the Hoopoe was completely oblivious to it. Canon EOS 5D Mark III, EF70-200mm f/2.L8 IS II, 1/500 sec @ f/3.2, ISO 1600, Camranger remote control system https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413589234189-SN6PM7VGP2ZBVNN0W3I1/image-asset.jpeg Birds - The conversation Two Black-headed Gulls seemingly deep in conversation. On a sunny day the quality of light (for colour photography) is usually best early in the morning and at the end of the day. The light is softer then, creating gradual tone changes instead of the harsh shadows and bright highlights that result when the sun is higher in the sky. Here, the distant reed beds were rendered a nice golden colour and reflected nicely in the lake. The composition of this shot follows the classic rule-of-thirds principle: the horizontal colour bands intersect a third of the way up the image, the gulls are placed along imaginary lines dividing the picture into thirds, both horizontally and vertically. Most viewers find rule-of-thirds compositions more attractive than, for example, images that simply centre the subjects. Canon 1DX, EF300mm f/2.8L IS, 1/2000 sec @ f/5.6, ISO 800, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413589284112-PSKW46BAS91OODHMX89Y/egret_D5A3702.jpg Birds - Extreme fishing #2 A Great Egret manages to grab two fish in a single strike. There is quite a bit of luck in wildlife photography, but you can improve the odds of getting lucky by maximising the amount of time spent behind the camera. That way, there's a better chance that you'll be there, ready, when something interesting happens. I'd spent several afternoons in a hide watching Egrets and Herons fishing in a small pool. I routinely followed birds that looked ready to strike with my camera, frequently adjusting settings to match the changing light conditions. Most times that the birds struck at the water they didn't catch a fish, but occasionally they did. On this one occasion I was lucky enough to follow an Egret as it somehow managed to catch two fish with a single lunge into the water. As all the camera settings were pre-adjusted, all I had to do was press the shutter button.   Canon EOS 5D Mark III, EF300mm f/2.8L IS, 1/1600 sec @ f/6.3, ISO 1250, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413589318159-LIU7G184D5D5AMIN732I/grebe+16+bit+AdobeRGB+_70R1869.jpg Birds - In a flap The island of Texel, just off the Dutch coast, is a haven for bird photographers. Every year thousands of wading birds build nests on the the waterways and many predators, such as Marsh Harriers, are attracted to the area by the prospect of young chics for dinner. I spent a few days on the island, primarily to photograph Avocets, and every morning at dawn I headed off to the Avocet colony. One afternoon, I drove to the north of the island for a bit of a break (there are only so many thousand Avocets a man can photograph in a day before becoming a bit overloaded). While I was parking my car at one of the beaches a male pheasant appeared in the dunes and started displaying to some nearby females. Using the car as a hide, I was able to gradually work my way closer to the bird and get a few action close-ups. Canon EOS 7D, EF500mm f/4L IS, 1/1000 sec @ f/5, ISO 640   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413589352510-58JTL8XYK0O7O936V170/Agency+Images-4405-2++Website.jpg Birds - Territorial dispute Two Yellow-billed storks clash over nesting space in the Okavango Delta, Botswana. Shooting from small boats can allow you to get very close to wildlife - for some reason, animals don't flee from a photographer in a boat in the way the do when you're on foot. On the down side, a small boat is not a very stable platform so you need to take care if you want sharp images. A high shutter speed will help avoid blur caused by the rocking of the boat. Image stabilised lenses can help get a sharp picture at longer shutter speeds, so these are a favourite of mine for boat trips. Of course, close proximity to your subject means a relatively short focal length lens is often more than enough to capture frame-filling shots, such as this one shot with a hand-held 70-200mm. The short focal length magnifies the effect of the boat's movement far less than a super-telephoto would. Canon EOS 5D Mark II, EF70-200mm f/2.8L IS II, 1/2000 sec @ f/5.6, ISO 320   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413589938806-75CS2K2I6S6Z4ISS1RYW/Buzzard+in+pool+MASTER+cropped++_D5A3156++Website.jpg Birds - Reflections A Buzzard cooling off on a hot summer's day. I love reflections in photos - maybe it's the symmetry they bring to an image. To get the best reflections, you need a still day, low shooting angle and a nice smooth upper background area (the distant dark tree area in this case) that doesn't clutter the image when reflected. reflection images work quite well when the image is divided 50-50 reflection-image. Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II, 1/200 sec @ f/4.5, ISO 1250, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413575766618-USS00ICF10L33IMRJ19I/night+heron+MASTER+_70R6582++Website.jpg Birds - Raining again I often feel that rain adds a real atmosphere to photos, so when I'm out and the drops start falling I keep shooting. Obviously, it helps to be dressed for the weather - I like rain, but I'm definitely not keen on getting wet. Waterproof overtrousers are a definite plus (there are plenty of lightweight offerings from camping and outdoor shops that will fit easily into a a camera bag pocket), and a waterproof coat and boots are essential. If you're in the open, then a camera and lens cover is a must to keep your equipment safe from water. You can buy hard wearing camouflage covers in a range of sizes from places such as Wildlife Watching Supplies. Alternatively, Optech make cheap, specially shaped semi-disposable covers with drawstrings (available from large retailers such as Amazon for less than £10 a pair), or you can use plastic garbage sacks and secure them with elastic bands or velcro strips - clear bags work best as you can see the camera controls through them. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/1000 sec @ f/2.8, ISO 2000, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413589384055-GZD8IJQEZ04UZ5KBJU3K/Kori+bustard8+bit+sRGB++_MG_5474.jpg Birds - Patrolling A Kori Bustard strolls on the plains of Nxai Pan National Park, Botswana The Kori Bustard has the distinction of being the worlds heaviest flying bird. Not that they fly much - I've rarely seen one leave the ground, and even then only for a few seconds. Using early evening golden light can work wonders for a photo, adding warm tones to what would otherwise have been a fairly bleak scene. Knowing that water is very scarce in Nxai Pan, I staked out one of the few waterholes every evening to catch a variety of animals coming to drink before darkness fell. Canon EOS 7D, EF100-400mm f/4.5-5.6L IS, 1/400 sec @ f/8, ISO 400, beanbag   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415114188359-YMGMRBYG1Z5ZYCUYC108/little+egret+16+bit+AdobeRGB++_D5A3637+as+Smart+Object-1++Website.jpg Birds - Fiery egret Little Egret back-lit in late afternoon sunlight. Back-lighting can seem daunting at first. It's all to easy to end up with a photo that's not quite a silhouette, but is still too dark to make out the subject clearly against a bright background. Wedding photographers have been dealing with just this sort of lighting situation for years when photographing bridal parties on sunny days. They don't want their subjects to face the sun as that would make them squint so and they usually fix the problem by using a flashgun, or a reflector, to illuminate the dark front of the happy couple. Sadly, flashguns aren't always practical with wildlife which may be too far away for the flash to make much difference. It's also not very practical to wave a big reflector around to bounce sunlight back to the subject as that rather negates all the trouble you've gone to to conceal yourself from the animal. However, there is one large natural reflector that you can use: a body of water. Water has the happy habit of reflecting light very well and by photographing animals on the edge of lakes, some natural light will bounce back onto your subject and help illuminate the side facing you. This also has the advantage that it's the same kind of light (the same colour temperature) as all the other light in the picture, so you don't have to worry about using gel filters on flashes to try and match their contribution with the ambient light. This technique works best with large bodies of water (a puddle won't make much difference to a back-lit swan). It's often best to use spot-meter mode to set exposure for the subject. I often dial in a bit of negative exposure compensation to slightly darken the subject to emphasis the rim of light on the feathers or fur at the subjects edge. Keep the highlight warning set on your cameras playback to make it easier to see if you've overexposed the image (a few spots of pure white around the edge of the subject are usually fine). Dark backgrounds usually work best (the brighter the sunlight, the darker the background that you need for this to be effective - a light background will usually burn out when you set exposure for the subject in midday sun.) It's a good idea to keep the sun itself out of your image, unless you want a lot of lens flare. And speaking of lens flare, if you want to avoid it then it's best to use a lens hood and to make sure that your lens and any filters you are using are clean and free from dust. Depending on the angle of the sun, you can get some nice internal lens patterns (the roundish shapes in the water in the image above). It's easiest to back-light effectively when the sun isn't at it's brightest, so shooting early in the morning and late in the afternoon is a good way to get started. You don't have to use water as the only reflector - with winter coming up, don't forget that other great natural reflector when shooting back-lit images: snow. Canon EOS 5D Mark III, EF300mm f/2.8L IS + 1.4x III, 1/2000 sec @ f/5, ISO 1250, tripod, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415114751018-BKH5TYGDNDCFMQQQBVNV/_70R5017++Website.jpg Birds - Early morning rain Black-crowned Night Heron in pre-dawn light. In the semi-darkness of pre-dawn, this Night Heron was illuminated by halogen floodlights. Halogen light gives a warm orange colour-cast to an image if you let the camera manage white balance. To remove the cast, the white balance on the camera is set to a low value (2800k). This has the effect of strengthening the blues in the cold natural ambient light. A high shutter speed was used to freeze the Heron and capture the rounded splashes of rain water on the surface of the lake. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/800 sec @ f/4, ISO 2000, 2 x 1000W halogen floodlights tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415115029410-MJDKXK05OUG3XLPGDV9L/egret+8+bit+sRGB++_UN_0820++Website.jpg Birds - Sunset in the marsh Great Egret, Kiskunsagi National Park, Hungary. To get a nice silhouette it's often necessary to under-expose the image by 1 - 2 stops. As luck would have it, this also has the side-effect of saturating colours more, which can really emphasise the sky colour in a sunset. You can also set the white balance of the camera to cloudy, or even shade, to super-saturate oranges and reds. This is a matter of taste / personal preference. If you shoot raw images, rather than jpegs, it's very easy to undo the effects of these setting later by resetting the colour temperature in your raw editing software (e.g. Lightroom, Aperture, Capture One etc.) Silhouettes need to be really sharp - there's no detail in the black shape of the subject, so the eye is drawn to its outline (that's just the way our brains work) and any softness there will be noticed. It's best to keep the shutter speed reasonably high to avoid motion blur, and use a sturdy tripod. The closer you are to water level, the better the reflections will be. For a perfect reflection in water you'll need an absolutely calm day, and a motionless subject. Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II, 1/400 sec @ f/4.5, ISO 800, tripod, hide.   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416089814865-JFC9ZOCMMUQR7O1BAGSD/sparrowhawk8+bit+sRGB+DIGIMARC+IMG_4214+as+Smart+Object-1++Website.jpg Birds - Reflecting A Sparrowhawk takes a bath in a woodland pool. Reflections add a nice symmetry to an image. To add a little visual tension I positioned the shore a little higher than halfway in the frame, rather than simply dividing the image in two. This also allowed me to include the dark water areas at the bottom of shot to help create the impression of a frame boundary. Canon EOS 5D Mark II, EF300mm f/2.8L IS, 1/1000 sec @ f/3.2, ISO 400, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1470261641999-HDRSXA885X1QZBEX2W89/puffin+wide+angle+sunset+lab+color+_70R7081++Website.jpg Birds - The wider view The shot above is a wide-angle close-up taken at the end of the day at16mm focal length. The Puffins are fairly relaxed around people and I found that if I sat down on the path after a while some of them would wander over to see what I was doing (the softbox on my flash gun seemed to particularly interest them). I certainly wouldn't condone chasing them around to get the picture as this would distress the birds. I used a small aperture (f/16) to create the diffraction effect around the sun - wide angle zoom lenses are especially good for getting this effect which essentially exploits a flaw in the optics of the lens. Generally, I shoot these sort of images in manual exposure mode, adjusting the ISO and shutter speed until I get the right exposure in the sky. You can, of course, use Aperture or Shutter priority exposure mode, dialling in negative exposure compensation to get the sky to the right level. However, this may be prone to changing as you move viewpoints and the camera (mis)interprets the light from a slightly different angle. Once I'd got the sky and sun looking the way I wanted, I set about compensating for the resulting underexposure of the Puffin and grass. To do this I added extra light via fill-in flash on foreground with a Speedlight. This had to be gelled to match the colour temperature of the evening light via a CTO filter on the flash head (using an ungelled flash would have given the foreground and Puffin a bluish colour cast compared to the orange evening light). I used a small 30cm softbox on the flash to give a softer light than I'd have got with the bare flash head (a bigger softbox would have been even better but I neglected to take one with me). In this shot the flash was mounted directly on top of the camera - this works for fill-in flash when the sun is more or less directly in front of you. For fill in flash, using the ETTL flash mode on the camera usually works quite well if you spot meter on the subject. However, you may need to dial the power up or down a bit using flash exposure compensation if the light conditions fool the camera's metering system. The flash will generally be firing at fairly low power, especially late in the day when the sun is more subdued (while I was shooting, somebody came over to tell me that they thought my flash might not be working properly as the output was barely visible). You don't want too much flash otherwise the image will appear false. Canon EOS 1DX, EF16-35mm f/2.8L IS II, 1/250 sec, f/16, ISO 250, EX600-RT Speedlight with CTO gel and 30cm softbox http://www.johngoodayphotography.com/beasts-1 daily 0.75 2016-08-03 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899712637-S51M83KSMEKI3QEKGOYY/image-asset.jpeg Beasts - Evening stroll A Leopard on the prowl in evening light, Savuti, Botswana. The Savuti marsh, in Botswana's Chobe National Park, is a magical place. After 30 years, the dried-up Savuti channel began flowing again in 2010, bringing the marshes back to life and attracting more wildlife to the area than ever before. We spotted this female leopard in the distance across a grass plain, took up a position ahead of her and waited to get a shot. A tele-zoom lens is extremely helpful when you're limited in where you can move and I always pack several on African trips. When shooting from a vehicle, it's usually best to use the lowest viewing point (e.g. side windows rather than roof hatches) to get a more intimate image. Evening light near the equator is wonderful, but doesn't last for very long, so work fast. Try varying shots - shoot both portrait and landscape format, zoom in close but don't forget to also shoot wide angles that show the animal in it's natural environment. Canon EOS 7D, EF100-400 f/4.5-5.6L IS, 1/200 sec @ f/7.1, ISO 200, monopod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899712637-S51M83KSMEKI3QEKGOYY/image-asset.jpeg Beasts - Evening stroll A Leopard on the prowl in evening light, Savuti, Botswana. The Savuti marsh, in Botswana's Chobe National Park, is a magical place. After 30 years, the dried-up Savuti channel began flowing again in 2010, bringing the marshes back to life and attracting more wildlife to the area than ever before. We spotted this female leopard in the distance across a grass plain, took up a position ahead of her and waited to get a shot. A tele-zoom lens is extremely helpful when you're limited in where you can move and I always pack several on African trips. When shooting from a vehicle, it's usually best to use the lowest viewing point (e.g. side windows rather than roof hatches) to get a more intimate image. Evening light near the equator is wonderful, but doesn't last for very long, so work fast. Try varying shots - shoot both portrait and landscape format, zoom in close but don't forget to also shoot wide angles that show the animal in it's natural environment. Canon EOS 7D, EF100-400 f/4.5-5.6L IS, 1/200 sec @ f/7.1, ISO 200, monopod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413742786351-4S6995EF670XLMZKO75C/tree+frog_MG_6088-2++Website.jpg Beasts - My pad I had spent several hours in a hide by a woodland pool in the hope of photographing a Goshawk that occasionally visited the location when this Marsh Frog swam into view. As it was rather smaller than the Goshawk that I had come equipped for, I had to add a 2x extender to my 300mm lens. I knew that image quality would suffer significantly with the 2x at maximum aperture, so I stopped the lens down. As the frog remained motionless I was able to take a long exposure at low ISO to keep image noise to a minimum. Canon EOS 5D Mark II, EF300mm f/2.8 + 2x II, 1/5 sec @ f/10, ISO 100, cable release, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899158642-U9UWYFMPMCSTIAPRVRXE/wildcat+in+snowdrift+16+bit+AdobeRGB++_D5A3399++Website.jpg Beasts - Snowbound A Wild Cat looks out from a snow drift in the Bavarian Forest National Park, Germany. Snow scenes can be tricky to expose - the expanse of white fools the camera's metering system, which expects the world to be grey. Left to its own devices the camera will underexpose the image, turning the scene a dirty grey so it's usually necessary to dial in one to two stops of positive exposure compensation (depending on how much of the area in the viewfinder is snow). Alternatively, changing to spot meter metering, taking a reading from a mid-tone on the cat ,such as the ear fur, and locking the resulting exposure will also work, so long as your meter's spot is small enough. Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II, 1/1600 sec @ f/2.8, ISO 800, tripod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899743181-KKNZARDO1RNOCTTWPREA/Red+squirrel+8+bit+sRGB++_D5A9212++Website.jpg Beasts - Woodland sunlight A Red Squirrel foraging for food in the Highlands of Scotland. Shooting from very low to the ground through grass allows you to create an almost ethereal soft-focus foreground. Using a wide aperture allowed me to create a complementary background blur of the distant trees.   Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/640 sec @ f/4, ISO 400, tripod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899787713-1R1JW4AL6D41EWADXZG0/Lion+at+dusk+8+bit+sRGB+IMG_6605-2++Website.jpg Beasts - Majesty A male lion stands in a shaft of sunlight, Moremi, Botswana Sometimes patience really does pay off. Our guide had been following a pride of lions for several days. We saw them frequently, but usually asleep underneath bushes. We kept following them and, one evening, not long before sunset the pride leader decided to stretch his legs. Although trees meant most of the surrounding were in shade, after half an hour or so he stepped into a pool of golden light in a clearing and stood there for a few seconds, long enough to get a shot.     Canon EOS 40D, EF100-400 f/4.5-5.6L IS, 1/250 sec @ f/5.6, ISO 400, beanbag   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899837894-NI5RY3UYU9F97OP9DGKP/Elephant+splashing+8+bit+sRGB++_MG_4079++Website.jpg Beasts - Surprise encounter Elephant playing in the Okavango Delta. I ran into this elephant (almost literally) when my boat rounded a corner of one of the thousands of small channels that make up the Okavango Delta. Elephants have poor eyesight and it was briefly unaware of the boat. I was able to take a few pictures before retreating to a safer distance. In harsh sunlight, you often have to make the choice between exposing to get some shadow detail (but potentially losing any detail in the sky), or exposing for the sky (and potentially ending up with a silhouette of your subject). I chose the former option, adding about a stop of exposure compensation to the camera's chosen aperture, and made sure to frame the image to include as little of the sky as possible. Canon EOS 5D Mark II, EF70-200 f/2.8L IS II, 1/640 sec @ f/5.6, ISO 400   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899944944-AHDAPZOLF2VUL13DW7P9/NHPL+Peeping+Leopard+_MG_6759++Website.jpg Beasts - Hide and seek A Leopard peers out from its hiding place in a tree, Khwai, Botswana. We found this leopard hiding up a tree, presumably waiting for something tasty to pass by below. Pictures of animals usually look much better when photographed from their eye level. However, that's not straightforward to accomplish when the subject is up a tree. I solved the problem by climbing onto the roof of our Land Cruiser and standing on tip-toes (making sure first that the vehicle was far enough away from the tree to prevent the leopard from jumping onto it!) Canon EOS 7D, EF100-400mm f/4.5-5.6L IS, 1/320 sec @ f/7.1, ISO 800   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899987441-H1R7S5RG3WKASWN5FM52/squirrel+and+hazelnut+16+bit+Adobe+RGB++_D5A9742++Website.jpg Beasts - Nuts! A Grey Squirrel makes a meal of a Hazelnut. Grey Squirrels provoke a love/hate response in the UK. People seem to view them either as cute, inquisitive wildlife, or as an invader responsible for the demise of native species. Whatever your view, they make good photographic subjects as they are much less timid than most other UK wildlife. In fact, with the aid of peanuts, you can have them literally eating out of your hand. For this shot, I put up a pop-up hide in a remote part of local woodland that I'd frequently seen squirrels in. I placed whole hazelnuts on a log, and waited. The log was positioned to be as far away from the trees in the background as possible, which created a soft background that didn't draw attention away from the furry subject. Hazelnuts have a couple of advantages over peanuts as bait - they look a lot nicer, and it takes the squirrels a lot longer to eat them giving you plenty of time to photograph. Canon EOS 5D Mark III, EF500mm f/4L IS II + 1.4x II, 1/400 @ f/5.6, ISO 1600, tripod, hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413743494639-EI15S4DIP7RCTPWWP295/lynx+8+bit+sRGB+_U__9127++Website.jpg Beasts - View from the top A Eurasian Lynx takes in the view. Including more of the surrounding puts animals in context in a way that a close view simply cannot. You get a sense of scale by including the environment, and you show viewers the habitat in which the animal lives. It's even better when the scenery itself is beautiful! Canon EOS 5D Mark III, EF70-200mm f/2.8L IS, 1/320 sec @ f/2.8, ISO 1600, tripod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413743438993-TA3ULB7OD6YDIDPBKB47/Agency+Images-6888++Website.jpg Beasts - Eye contact A Brown Hare hides in long grass. Hares have amazing eyes - so large and bright. They can carry a picture even when the rest of the animal is partially hidden. Sometimes focusing on one feature can create a more powerful image than simply showing the entire subject. Canon EOS 7D, EF300mm f/2.8L IS + 1.4x II, 1/80 sec @ f/4, ISO 500, car used as hide   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413900033395-CVL7T2PHTQPOU93EAH4A/Wild+dog+8+bit+sRGB+MG_1126++Website.jpg Beasts - Alertness An African Wild Dog on the look-out for prey at the start of its evening hunt African Wild Dogs (sometimes called Painted Dogs) are critically endangered. There are thought to be less than 5000 remaining in the wild. Tracking them down can be a real challenge, partly because of their rarity but also because they tend to be active at night, hiding during the day. I'm fortunate enough to have worked for several years with a Botswana guide who has an amazing ability to locate them - Rob Barbour, of Golden Africa. Rob can actually call Wild Dogs to him - something pretty unique. When you are working away from your home territory, enlisting a local guide and fixer is essential to maximise the photographic opportunities. Canon EOS 7D, EF100-400mm f/4.5-5.6 IS, 1/320 sec @ f/5, ISO 1600, beanbag   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413743414692-ALG5TQLD2CF77F7VIM9A/Wild+boar+close-up+8+bit+sRGB++_D5A0197++Website.jpg Beasts - Getting the low-down on Boar A captive European Wild Boar enjoying a snack in the autumn sunshine Shooting captive animals is great for creative shots. You can usually get a lot closer to the animal than in the wild. Getting in really close from an unusual angle can add impact to an image. This shot was taken lying upside down on the ground about 1m from the Boar using a 40mm lens. Waiting until later in the day, and using a polarizing filter, allowed me to keep detail and colour in both the sky and the boar. I did get rather covered in Boar drool though. The Canon 40mm pancake lens here is an absolutely amazing bargain lens with superb image quality - watch out for a long term review of it on my blog. Canon EOS 5D Mark III, EF40mm STM, 1/320 sec @ f/4, ISO 320   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413743450593-Q75MLNQBYVN4V6D0EW2S/Zebra+eyes+8+bit+sRGB++Website.jpg Beasts - Eye level Close-up of a Birchel's Zebra, Zimbabwe Another case of focusing on a particular feature rather than the whole subject to create a more striking view. A panoramic horizontal shot often works very well when there are vertical lines in the image. By using a 400mm reasonably lens close to the animal, the background grass becomes an even green blur that contrasts with the black and white of the zebra. This particular shot was taken on foot, making it easy to get eye level with the zebra, although quite hard to get close as wild animals don't tolerate people on foot. This was taken concealed behind a clump of trees, but even then the Zebra fled when it heard the noise of my shuttter.   Canon EOS 7D, EF100-400mm f/4.5-5.6L IS, 1/500 sec @ f/6.3, ISO 640   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1413899417827-5QR2EFKZA2D6MJSBW3KL/fox+16+bit+AdobeRGB+_D5A2386++Website.jpg Beasts - Across the fields A Red Fox running towards some food bait just out of camera shot. A low shooting angle really put you into the animals world. It's worth getting a bit muddy - the extra effort will give you much better pictures. I took advantage of the excellent high-ISO noise performance of current generation full frame cameras to enable a high shutter speed and freeze the fox in mid-stride. Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II, 1/2500 sec @ f/5, ISO 2000     https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1414339958163-A1XWJK33Y0PRX77GQJ8R/Agency+Images-0934++Website.jpg Beasts - Thirsty traveller An old African Elephant stops to drink from one of the few water holes in Nxai Pan, on the edge of the Kalahari. Evening light gives this image nice warm tones and soft shadows. The hour or so before sunset is one of the most productive times to photograph in Africa: not only is the light wonderful, but animals are active in the cooler temperatures. When shooting in Africa, dust can be a real problem - changing lenses in the open is a sure way to end up with sensor dust spots decorating your images. To avoid this I use multiple cameras, each with a different lens attached (usually a wide angle, a long telephoto and a mid-range zoom). Canon EOS 40D, EF100-400mm f/4.5-5.6L IS, 1/500 sec @ f/5.6, ISO 400, beanbag     https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1414340922360-0486CCJTIHX8M0PEXRWQ/Agency+Images-6328++Website.jpg Beasts - Dual Two Impala battle for control of a herd, Chobe National Park, Botswana. Impala males spend a lot of time fighting. When they're not engaged in combat for real, males in bachelor herds can often be seen practicing with each other. Females are found in breeding herds led by a dominant male. If other males want a mate, they must first challenge and defeat the dominant male and take his place (or at least steal some of his harem). Getting as low as possible (I was lying on the floor of an open sided Landrover) gives an Impala's-eye view of the action. Getting in close, rather than including the whole animal, creates tension in the image. Canon EOS 7D, EF100-400mm, f/4.5-5.6L IS, 1/320 sec @ f/9, ISO 100   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1414367820970-0FUJ91UXH9PXIPD2ZML9/_70R9298++Website.jpg Beasts - Water's edge A Water Vole emerging from a stream. Having lured a few Voles onto the bank with some pieces of fruit I was able to lie down in the grass a short distance away and take eye level shots. Water voles don't have great eyesight, so as long as you stay still, they'll often come to within a few metres without noticing you. The leaves on the trees hanging over the stream gave a nice dark green reflections in the stream. I kept the aperture reasonably wide to ensure they blurred into an unrecognisable dark green background. Canon EOS 1DX, EF500mm f/4L IS II, 1/160 sec @ f/6.3, ISO 3200, tripod   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1470262221669-NRX2RRIMTOFPAEK86DWX/otter+lab+color+_70R4646++Website.jpg Beasts - Cold weather hunter An Otter hunting at night in an icy Hungarian marsh. Lit using two Profoto B2 flashes either side of the camera plus a Canon speedlight for backlighting to give a rim light and light up the whiskers. The left Profoto B2 was set 1 stop dimmer than the right to create a more three dimensional image. The flashes were radio triggered from the camera via the Profoto Air system.   Canon EOS 1DX, EF70-200mm f/2.8L IS II at 160mm, 1/250 sec, f/3,2, ISO 1000, 2 x Profoto B2 flashes, 1 x Canon EX600-RT speedlight, tripod, hide http://www.johngoodayphotography.com/blogarticles daily 0.75 2020-02-15 http://www.johngoodayphotography.com/blogarticles/2019/6/15/rain-rain monthly 0.5 2019-06-16 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1560706100479-G0U9RCT24EE3MSWFJLLO/_70R6376.jpg Blog articles - Rain, rain, Stay a While (or ‘How I learned to love precipitation’) Image 02: Grey Heron during a downpour at Wildlife Photography Hides’ Pond Hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1560699866947-7VKT1HDMO8544M9R3J8U/keterel+rain+fence+_A8I9189.jpg Blog articles - Rain, rain, Stay a While (or ‘How I learned to love precipitation’) Image 01: Young Kestrel waiting for an adult to bring some food in last week’s English summer rain. At higher shutters speeds (1/640 was used here) the rain can be frozen in the image to look more like drops. This was shot at Wildlife Photography Hides’ ‘Wired Hide’. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1560687826609-L0KTCJC9TR8U1VOPT4O5/heron+_A8I7596.jpg Blog articles - Rain, rain, Stay a While (or ‘How I learned to love precipitation’) Grey Heron during a night rain storm this January, Kiskunsag National Park, Hungary. Using a very slow shutter speed of 1/3 seconds accentuates the rain turning the drops into arcing lines. A backlight illuminates the rain behind the bird nicely. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1560710979597-RXVGGZRWVTDWFOK3LJCI/heron+rain+noise+reduction+WEBFRAME+WEBTEXT+4x5+_70R8398.jpg Blog articles - Rain, rain, Stay a While (or ‘How I learned to love precipitation’) Image 04: Heron at night backlit with two speedlights, left and right high out of shot, and two front flashes to light the front of the bird. If you prefer a silhouette then you don’t need the front flashes. Also taken at Wildlife Photography Hides’ Pond Hide. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1560706197111-1WNV03OT2R02IN8SM063/puffin+in+rain+noise+reduction+_A8I8113.jpg Blog articles - Rain, rain, Stay a While (or ‘How I learned to love precipitation’) Image 03: Raindrops resting on the oily feathers of an Atlantic Puffin, Skomer Island, Wales https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1560711863726-KIZTEWKXSZ4AZFO0UHW3/egret+lab+color+_D5A8325.jpg Blog articles - Rain, rain, Stay a While (or ‘How I learned to love precipitation’) Image 05: Great Egret at night backlit with a 1000W spotlight to give continuous light. This allows us to capture rain streaks using a slow shutter speed (1/80 sec) which wouldn’t be possible if we’d used a flash instead. http://www.johngoodayphotography.com/blogarticles/bee-eaters-flight monthly 0.5 2019-06-08 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1559661022794-ZOJPTXUJLENRLSPWALQ4/camaera+lcd+AF+BiF.jpg Blog articles - Capturing Bee Eaters in flight Canon autofocus parameter setting used for the photo above https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1560036697854-PA4DMNCOVJ2RHS097JGS/bee%2Beaters%2Bfighting%2Bnoise%2Breduction_A8I7508.jpg Blog articles - Capturing Bee Eaters in flight European Bee eaters fighting over a nest site, Hungary May 2019 1DX II, 500mm f/4 II + 1.4x III, 1/2500, f/7.1, ISO 2000, tripod with Uniqball head, pop-up hide http://www.johngoodayphotography.com/blogarticles/2018/11/19/goodbye-autumn monthly 0.5 2018-12-03 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1542649547536-ERF1AXS6I729PN62GAXW/fungi+noise+reduction+_D5A7038.jpg Blog articles - Goodbye Autumn... Photo 1: Angel's Bonnet mushrooms backlit by the setting sun in woodland. 5D III, 100mm f/2.8 macro II, 1/25, f/4, ISO 125, speedlite with 0.5 CTO gel, beanbag https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1543854463308-6EOEPSAQTMR2B6SIMRNT/squirrel+touching+fly+agaric+Ausstria+2016-10-2400179++Website.jpg Blog articles - Goodbye Autumn... Photo 4: A Red Squirrel in the Viennese Forest, Austria, investigating a Fly Agaric toadstool. Thanks to my wildlife film maker friend Gunther for inviting me to photograph with him in the forest around his home. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1543854595144-2S74XT7JHYDVMH1WXNOM/fyungi+noise+reduction_D5A6915.jpg Blog articles - Goodbye Autumn... Photo 2: These Milking Bonnet fungi have been photographed using virtually the same technique as in the previous photo. The difference in this second shot is that I haven’t angled the lens towards the sun to give a darker, smoother, flare-free background https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1543854273175-PWLSG2TLGIF39YCKRDJK/mushroom+silhouette+_D5A7142.jpg Blog articles - Goodbye Autumn... Photo 3: Backlit silhouette, underexposed in-camera to saturate the dusk sky colours http://www.johngoodayphotography.com/blogarticles/2017/12/18/vertical-take-off-barn-owl-at-night monthly 0.5 2017-12-18 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1513559784204-JR5ZRRLHQOWFCH4J6QG6/barn+owl+take-off+lighting+diagram.JPG Blog articles - Lighting Owls and their habitat at night https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1513560644570-N9AOCL5TUH4FFMGT690L/_A8I0811-Edit.jpg Blog articles - Lighting Owls and their habitat at night https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1513560842767-SJ907CA4RQJSWND8UCH7/_A8I0844-Edit.jpg Blog articles - Lighting Owls and their habitat at night Another shot (this time a Tawny Owl) at the same location. The flash lighting the background trees has been reduced in power to make the trees a little darker than before. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1513590535699-GC0REK4GDZHK4B8RXQ8Z/23847520_10156079551172042_6812978040706149859_o.jpg Blog articles - Lighting Owls and their habitat at night https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1513557067467-FDOI3TB34L07Y0WPPXMH/_A8I0898+clone+out+leather.jpg Blog articles - Lighting Owls and their habitat at night http://www.johngoodayphotography.com/blogarticles/2017/12/6/one-location-three-images monthly 0.5 2017-12-17 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1512604418809-LW5DC7OA0J9U4T040YCI/_A8I0261.jpg Blog articles - One location, three images Image 3: half-way house - underexposed a little to darken background, flash used to top-up foreground light https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1512604268738-WBK9ISNME1N2R13T5IVB/_A8I0246+extended.jpg Blog articles - One location, three images Image 2: Underexposed to remove most of the natural light then re-lit with flash https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1512604146336-K7H0IYF57MC9FEGXN47Y/_70R4109.jpg Blog articles - One location, three images Image 1: mostly natural light with a tiny hint of flash http://www.johngoodayphotography.com/blogarticles/2016/12/30/52houf5qieshwzhm5b6eyocauc1wtj monthly 0.5 2016-12-30 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483123744368-ZZLYXRX3EMUCY2YEO1UI/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break YN-622C transceiver attached to a speedlight https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483125056161-CHTTA6N55VA2HNPWPKPG/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483124747912-98KJSTAW50XQCN028RE9/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483125085449-8M0ND1XO6628V07CY72M/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break OK - I know this one is a bit yuk... but the lighting's quite nice, isn't it? https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483131717878-XCYBZLV9SIJ6XVTQ5P23/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483124803653-R1DOM7XTCFB2CWJ5CAX5/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break Turned upside down, the Apollo just reaches down to the top of a 100mm macro. Neat! Hmmm, really must clean that lens... now where did I put my lenspen? https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483123958664-WVWYZHUJKCYZ7ZRL3CWC/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break Comes with a handy, if not fashionable, softcase https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483123916247-9S6F71VPSPH9LC1F6ZHP/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483131603435-76AEAQXXPDOJ2XVW49ZV/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1483123414272-S84NSQ398B5C01WLS8I5/image-asset.jpeg Blog articles - A few useful camera gadgets that I have failed to break YN-622C-TX control unit http://www.johngoodayphotography.com/blogarticles/2016/7/23/puffins monthly 0.5 2016-07-23 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294512500-TG05INDWD7O8KD3TXXYW/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing Canon EOS 1DX, EF16-35mm f/2.8L IS II, 1/250 sec, f/16, ISO 250, EX600-RT Speedlight with CTO gel and 30cm softbox https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294380341-BKIQXJK1GJCH8YUP5YBY/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294656985-RLRAYNS2N0H6W8FJ63VH/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/800 sec, f/4.5, ISO 400 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294782082-L6MQD9JDQ0PE99YV2Z5Y/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing Canon EOS 1DX, EF500mm f/4L IS II, 1/2000 sec, f/5.6, ISO 1600 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294608484-S23NQCT9Y6UOO4GPUKCX/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing Canon EOS 1DX, EF70-200mm f/2.8L IS II @ 190mm, 1/1000 sec, f/2.8, ISO 100 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294737273-E3G0NT9QCUTJNJAIXV8D/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing Canon EOS 1DX, EF70-200 f/2.8L IS II + 1.4x III, 1/1600 sec, f/4, ISO 640 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294841587-56913YZB8GRQBZ2F8UC6/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing Canon EOS 1DX, EF500mm f/4L IS, 1/2000 sec. f/5.6, ISO 1600 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469295079496-60TWX84CIOL8J3VORR4G/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing One that got away! On the one evening of nice light, no Puffins with sand eels flew straight towards the camera. This was about the best angle I got. A good excuse to return to Skomer and try again... https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294558244-PQ9H0AK100ZD4E4Y34S5/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing Canon EOS 1DX, EF500mm f/4L IS II, 1/250 sec, f/11, ISO 50, EX600-RT Speedlight zoomed to 200mm https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469294999657-HJ3T13ZKAMCPWGL83JBY/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing You're never far from a Puffin on Skomer. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/2000 sec, f/5, ISO 800 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1469295035655-IFUNWYX1S1VVFWYT32IG/image-asset.jpeg Blog articles - Puffins on Skomer: a few techniques for photographing Puffin in its burrow Canon 5D Mark III, EF70-200mm f/2.8L IS, 1/200 sec, f/7.1, ISO 250, EX600-RT Speedlight with 30cm softbox http://www.johngoodayphotography.com/blogarticles/2016/3/7/capturing-a-difference-of-opinions-camera-setting-for-fighting-birds monthly 0.5 2016-03-08 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1457447720511-AAXWSYHLDLVH78FGRBY2/herons+fighting+WEBFRAME+WEBTEXT+_70R2225.jpg Blog articles - Capturing a difference of opinions - camera set-up for fighting birds https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1457381534704-0NV4N7SYNCV583EGJ9J1/image-asset.jpeg Blog articles - Capturing a difference of opinions - camera set-up for fighting birds https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1457381117874-Y76J3SMG9QVE1TU97KCG/image-asset.jpeg Blog articles - Capturing a difference of opinions - camera set-up for fighting birds https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1457382959229-DJMX68ARJ3PE01QTR8I0/image-asset.jpeg Blog articles - Capturing a difference of opinions - camera set-up for fighting birds https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1457447824697-5IRZ42XSNLF8H2309D5G/image-asset.jpeg Blog articles - Capturing a difference of opinions - camera set-up for fighting birds https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1457381202572-L78IM5BNMH5ILMJL0CDW/herons+lab+color+WEBFRAME+WEBTEXT+_70R2641.jpg Blog articles - Capturing a difference of opinions - camera set-up for fighting birds https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1457381388885-PO4AFL6YYO6PCY16Q5D1/image-asset.jpeg Blog articles - Capturing a difference of opinions - camera set-up for fighting birds Canon's default AF Case 6 settings on the 1DX (it's a similar story on the 7D Mark II, 5DS and 5DR). http://www.johngoodayphotography.com/blogarticles/2016/1/11/let-it-snow-photographing-in-the-depths-of-winter monthly 0.5 2016-01-12 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1452558881510-ZKV97T8R1LHENFYD9XT0/image-asset.jpeg Blog articles - Let it snow: photographing in the depths of winter Fig 1: the image settings chosen by the camera https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1452545467545-10S2FEJA3ZBVLZWGOWGU/image-asset.jpeg Blog articles - Let it snow: photographing in the depths of winter https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1452558197812-4PT23GV0WK62426AKC1I/image-asset.jpeg Blog articles - Let it snow: photographing in the depths of winter Fig 3: a few minor adjustments in lightroom puts lost contrast back into the image https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1452541577503-SSLOFC09TQLI2BPRQSQZ/image-asset.jpeg Blog articles - Let it snow: photographing in the depths of winter Fig 4: increasing the colour temperature to remove the blue cast https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1452558459270-MS232DER7YUC49P4V45Z/_70R1854.jpg Blog articles - Let it snow: photographing in the depths of winter Fig 5: final image https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1452590009491-LJAZUWP1HLRQSDSYW9Z4/image-asset.jpeg Blog articles - Let it snow: photographing in the depths of winter https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1452558369931-RP5X8UCEEMVI5SYXXA1Q/eagle+2.JPG Blog articles - Let it snow: photographing in the depths of winter Fig 2: Adding 1.3 stops of exposure compensation on the camera brightens the image http://www.johngoodayphotography.com/blogarticles/2015/9/17/zsl-animal-photography-prize monthly 0.5 2015-09-17 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1442529801411-ZHGQUCXLE9VBO4OAKU2Y/image-asset.jpeg Blog articles - ZSL Animal Photography Prize http://www.johngoodayphotography.com/blogarticles/2015/8/16/of-hoopoes-and-holes monthly 0.5 2015-08-16 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1439745013910-0KKFXY24Q2T7W2OJUY2B/image-asset.jpeg Blog articles - Of Hoopoes and holes https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1439745523274-TQOFNRYS7G45SYU5YRUC/image-asset.jpeg Blog articles - Of Hoopoes and holes https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1439746823973-HXEL9ZSKU2XFQOA429Z4/image-asset.jpeg Blog articles - Of Hoopoes and holes http://www.johngoodayphotography.com/blogarticles/2015/4/20/just-another-day-at-the-office monthly 0.5 2015-04-20 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1429557910186-7KTAXPOJHF0TI4UYBSEM/image-asset.jpeg Blog articles - Just another day at the office? https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1429558148170-0IMEZDKKY74D86S0D1L4/image-asset.jpeg Blog articles - Just another day at the office? https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1429558201361-B3W7A8YYQL3YI0MX2M7P/image-asset.jpeg Blog articles - Just another day at the office? https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1429557797784-SYF19128R951684939V2/image-asset.jpeg Blog articles - Just another day at the office? https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1429557846575-E3TXS8VXW32N8YYD8THB/image-asset.jpeg Blog articles - Just another day at the office? https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1429558087200-2OM7MZIHFXWA1XG43ABS/tern+lab+color+WEBFRAME+WEBTEXT_70R8221++Website.jpg Blog articles - Just another day at the office? http://www.johngoodayphotography.com/blogarticles/2015/3/3/welcome-to-the-third-dimension-a-week-with-the-canon-200mm-f2l-is monthly 0.5 2015-03-13 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426200432826-G8KGZJQ0CU6RJ0J3ZCDZ/EAGLE+OWL+LAB+COLOR+webframe+webtext+_70R5374+2160+sRGB+100+percent.jpg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS (Image: Canon EOS 1DX, EF200mm f/2L IS, 1/1600 sec @ f/2, ISO 500, tripod with Uniqball head) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426121818583-O047RYRMV66VZ2JLEOT6/golden+eagle+lab+color+_70R1024++Website.jpg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS (Image: Canon EOS 1DX, EF200mm f/2L IS II, 1/1250 @ f/2.2, ISO 1600) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426238998039-2RL0BDCDHBVQZB257BPF/image-asset.jpeg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426192061811-6BY39IYPQV7IGI6A1QEO/image-asset.jpeg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS (Image: Canon EOS 1DX, EF200mm f/2L IS, 1/1000 sec @ f/2, ISO 1000, hand-held) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426120174281-HITLOC0GIAWHRFMSR6MH/image-asset.jpeg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426200482054-NSCY7SF14WU6F3HIFFIC/image-asset.jpeg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS (Image: Canon EOS 1DX, EF200mm f/2L IS, 1/500th sec @ f/2, ISO 500) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426162501875-GD69S1JN314JX2OTSOEN/image-asset.jpeg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS (Image: Canon EOS 1DX, EF200mm f/2L IS, 1/2000sec @ f/2 ISO 500, tripod with Uniqball head) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426200610975-3GWX4HF1J5L1IFWR6J19/image-asset.jpeg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS (Image: Canon 1DX, EF200mm f/2L IS, 1/320 sec @ f/2, ISO 320, hand-held) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426162423227-0QHE17KE1T72443ZVJYT/image-asset.jpeg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS (Image: Canon EOS 1DX, EF200mm f/2L IS II, 1/1250 @ f/2.2, ISO 1600) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1426121852517-8G9Y9GCZYRMAKI4ABDKG/golden+eagle+lab+colorWEBFRAME+WEBTEXT++_70R1024++Website.jpg Blog articles - Welcome to the third dimension: a week with the Canon 200mm f/2L IS (Image: for comparison, this shot was taken with a 70-200 f/2.8 wide open. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/1000 sec @ f/2.8, ISO 3200, tripod with Uniqball head) http://www.johngoodayphotography.com/blogarticles/2015/3/3/a-wider-view-using-captive-animals-to-get-unusual-viewpoints monthly 0.5 2015-03-03 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1425381972935-QFHI7LE0RH0COWJXOCVG/image-asset.jpeg Blog articles - A Wider View: using captive animals to get unusual viewpoints   (Image: nice idea, shame about the lighting! Canon EOS 1DX, EF24-105 f/4L @ 28mm, 1/40 sec @ f/8, ISO 1000)   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1425384127013-42YGU0Y8YYFRHENLH7NU/image-asset.jpeg Blog articles - A Wider View: using captive animals to get unusual viewpoints (Image: Canon EOS 1DX, EF24-105 f/4L IS @ 24mm, 1/250 sec @ f/4, ISO 100, EX600-RT speedlight with small softbox) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1425379561398-AAG0UCHQ05QEGLJKEQ53/image-asset.jpeg Blog articles - A Wider View: using captive animals to get unusual viewpoints (Image: Pleasant, but pretty ordinary viewpoint. Canon EOS 1DX, EF500mm f/4L IS II, 1/200th sec @ f/4, ISO 800, tripod)   http://www.johngoodayphotography.com/blogarticles/2015/2/20/adventures-in-lab-space-selective-colour-correction-in-a-hurry monthly 0.5 2015-03-03 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1424458512852-3P1MGBD88UWLBB8DILIG/image-asset.jpeg Blog articles - Adventures in LAB space: selective colour correction in a hurry https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1424458621224-5TNM10TZKLJ14HX9W6PR/image-asset.jpeg Blog articles - Adventures in LAB space: selective colour correction in a hurry https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1424455704781-VLRZGF0XW25LW6136RPP/image-asset.jpeg Blog articles - Adventures in LAB space: selective colour correction in a hurry https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1424458157847-TVT9A20X27TYEGJZNR3C/image-asset.jpeg Blog articles - Adventures in LAB space: selective colour correction in a hurry https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1424458676690-1GVJ6CDSDJMN95XAC6TQ/image-asset.jpeg Blog articles - Adventures in LAB space: selective colour correction in a hurry https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1424475831485-5V6BXY3R17FMCHF124SB/image-asset.jpeg Blog articles - Adventures in LAB space: selective colour correction in a hurry http://www.johngoodayphotography.com/blogarticles/2015/2/8/using-flash-gels-for-correction-and-effect monthly 0.5 2015-02-10 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1423485598170-F4QDG30EXNXE3D4GOP2G/image-asset.jpeg Blog articles - Using white balance and flash gels for correction and effect (Image: Canon EOS 5D Mark III, EF300mm f/2.8L IS II, 1/80th Sec @ f/4.5, ISO 1600, tungsten backlight, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1423476937203-EJNBQLKX18A79E516HH2/image-asset.jpeg Blog articles - Using white balance and flash gels for correction and effect   (Image: Canon EOS 1DX, EF300mm f/2.8L IS II, 1/25 sec @ f/3.2, ISO 2000, tungsten backlight, 2x EX580 II speedlights with CTO gel, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1423427032856-D972ZAOD99PO0V30LCKB/image-asset.jpeg Blog articles - Using white balance and flash gels for correction and effect   (Image: Canon 1DX, EF70-200mm f/2.8L IS II, 1/200 sec@ f/2.8, ISO 2000, tungsten backlight, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1423510375359-12BBEBLJMFBNPAHU8K82/image-asset.jpeg Blog articles - Using white balance and flash gels for correction and effect (Image: flash gel holder attached to a speedlight) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1423424960375-84MS2VX6S5V1RUEG1U82/image-asset.jpeg Blog articles - Using white balance and flash gels for correction and effect   (Image: Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/250 sec @ f/2.8. ISO 2000, tungsten backlight, tripod, hide)   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1423480732012-UQ3KEDP2YOU4MI9OHRHB/image-asset.jpeg Blog articles - Using white balance and flash gels for correction and effect (Image: Canon EOS 1DX, EF300mm f/2.8L IS II, 1/125 sec @ f/3.2, ISO 2000, 2 x Canon EX580 II speedlights with 0.5 CTO gel, tungsten backlight, tripod, hide) http://www.johngoodayphotography.com/blogarticles/2015/1/10/a-pleasant-surprise monthly 0.5 2015-01-10 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1420910743773-LFK086SAMKNY3P6Z0UZX/image-asset.jpeg Blog articles - A pleasant surprise (Image: Canon EOS 1DX, EF300mm f/2.8L IS, 1/2000 sec @ f/5.6, ISO 800, tripod, hide) http://www.johngoodayphotography.com/blogarticles/2014/12/28/adjusting-mixed-colour-temperature-images-in-lightroom-or-adobe-camera-raw monthly 0.5 2015-03-03 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1419796494796-5EMPMO9N6VCE6KT0U5GI/image-asset.jpeg Blog articles - Fixing mixed shadow and light images using Lightroom or Adobe Camera Raw https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1419791109560-ZEO85XB2R7K8MNDLSID2/image-asset.jpeg Blog articles - Fixing mixed shadow and light images using Lightroom or Adobe Camera Raw https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1419792988137-P1167A8KFJ7RDCF6L82K/image-asset.jpeg Blog articles - Fixing mixed shadow and light images using Lightroom or Adobe Camera Raw (Image: Histogram of photo as taken) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1419793710395-LKT3EE2XVYBMC8B0V2AN/image-asset.jpeg Blog articles - Fixing mixed shadow and light images using Lightroom or Adobe Camera Raw (Image: exposure adjustments in Lightroom) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1419795600947-HY9HL4V5DB3W2VHU6W2V/image-asset.jpeg Blog articles - Fixing mixed shadow and light images using Lightroom or Adobe Camera Raw https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1419794848744-HOFLXUOQD28E0CMBPBGU/image-asset.jpeg Blog articles - Fixing mixed shadow and light images using Lightroom or Adobe Camera Raw http://www.johngoodayphotography.com/blogarticles/2014/12/16/a-review-of-some-reflection-pool-hides monthly 0.5 2014-12-17 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418773518945-54NYB4S1OAR2CPZXH52F/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Eurasian Jay. Canon EOS 5D Mark II, EF300mm f/2.8L IS II, 1/400 sec @ f/5.6, ISO 500, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418777456644-79S0KKPOHO0UV1O5OZ24/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418777940586-CV3EFSLPZMR8RW5EGJYF/night+heron+daybreak+WEBFRAME+_D5A2645++Website.jpg Blog articles - A review of some reflection pool hides - Part I (Image: Hooded Crow. Canon EOS 5D Mark III, EF300mm f/2.8L IS + 1.4x III, 1/800 sec @ f/5, ISO 640, tripod, hide)   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418813549996-0ZDKS3H8O9RE4MZPDHVY/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Black-crowned Night Heron Hunting. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/500 sec @ f/4.5, ISO 3200, tripod, hide, halogen lights) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418813437021-CD4YSGJTZMB52RQCV0DA/egret+8+bit+sRGB+WEBFRAME+padded++_70R6770++Website.jpg Blog articles - A review of some reflection pool hides - Part I (Image: Great Egret fishing in pre-dawn light. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/1000 sec @ f/4, ISO 1250, tripod, hide, halogen lights) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418815165494-85UTB8WS3O8YZWF6XUER/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Great Egret at sunset. Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II, 1/400 sec @ f/4.5, ISO 800, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418814395339-X5I2SWBUH9DZA8HNDS0E/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Getting close to a Great Egret. Canon. EOS 7D, EF300mm f/2.8L IS, 1/1000 sec @ f/4, ISO 400, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418773756825-UM93Q9ISX87OYQZLAQW9/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Sparrowhawk. Canon EOS 7D, EF300mm f/2.8L IS + 1.4x II, 1/500 sec @ f/4, ISO 320, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418816104374-GQ6ZB39Q34COAXZPSBJ2/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Grey heron. Canon EOS 5D Mark II, EF300mm f/2.8L IS, 1/320 sec @ f/2.8, ISO 200, tripod, hide). https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418775564612-Y3N60PYX7339FGK3D519/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Blackcap challenging a Common Chaffinch. Canon EOS 7D, EF300mm f/2.8L IS, 1/400 sec @ f/4.5, ISO 640, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418816354835-VXAEPZAIRFURTWBVQQBQ/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: black-tailed Godwit. Canon EOS 5D Mark III, EF300mm f/2.8L IS + 1.4x II, 1/500 sec @ f/5, ISO 1600) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418774270162-W6AU0ZI3A4KFBH8N7JD3/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Hawfinch bathing vigorously. Canon EOS 1DX, EF300mm f/2.8L IS + 1.4x III, 1/320 sec @ f/7.1, ISO 2000, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418773383047-VTBAE05E45I6UQR893LR/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: European Robin. Canon EOS 5D Mark II, EF70-200mm f/2.L IS II, 1/640 sec @ f/2.8, ISO 640, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418815002688-3MADS9IHPL49AOOO1SU1/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Black-headed Gull fishing. Canon EOS 5D Mark III, EF 500mm f/4L IS II, 1/640 sec @ f/5.6, ISO 400, tripod, hide).   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418773450594-BL3N10QTF69V0BR41ETJ/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Common Buzzard. Canon EOS 5D Mark III, EF 70-200mm f/2.8L IS II, 1/200 sec @ f/4.5, ISO 1250, tripod, hide). https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418815401300-JVOW2LYC093K2H8N53LV/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Yellow-legged Gull fishing. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/1250 sec @ f/2.8, ISO 2000, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418814541271-BP9F179SWE5YMH2GNVEV/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: White-tailed Eagle. Canon EOS 5D Mark III, EF300mm f/2.8L IS, 1/500 sec @ f/5.6, ISO 800, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418775834765-8RN7GEAPZPBB2AAL5RC4/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Blackcap calling from a tree near a pool. Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/1000 sec @ f/4.5, ISO 640, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418776747163-0ERPQV869UIN8WYV18VS/black+stork+8+bit+sRGB+WEBFRAME+WEBTEXT++70R3000++Website.jpg Blog articles - A review of some reflection pool hides - Part I (Image: Black Stork catching a fish. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/1600 sec @ f/5, ISO 1250, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1418814649014-0O1TGUI728DZQIB6OY33/image-asset.jpeg Blog articles - A review of some reflection pool hides - Part I (Image: Spoonbill calling. Canon EOS 1DX, EF300mm f/2.8L IS, 1/1600 sec @ f/5, ISO 640, tripod, hide). http://www.johngoodayphotography.com/blogarticles/2014/12/7/northern-kingfishers monthly 0.5 2014-12-07 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1417980240334-Y52S5C5VA7V9BQKM3A6E/kingfisher+WEBFRAME+_70R0999.jpg Blog articles - Northern Kingfishers Image: Canon EOS 1DX, EF500mm f/4L IS II, +1.4x III 1/400th sec @ f/5.6, ISO 500, tripod with Uniqball head, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1417986345498-VIPEAEP62Z37SIFNINJD/image-asset.jpeg Blog articles - Northern Kingfishers Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/1000th sec @ f/7.1, ISO 2000, tripod with Uniqball head, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1417986165427-LCHWF6PGEPFES6EZAPHG/image-asset.jpeg Blog articles - Northern Kingfishers Canon EOS 1DX, EF500mm f/4L IS II 1/400th sec @ f/75.6, ISO 3200, tripod, hide https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1417985936334-CEE1XBVLD33KIAJ5OUAZ/image-asset.jpeg Blog articles - Northern Kingfishers Image: Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/800th sec @ f/7.1, ISO 800, tripod with Uniqball head, hide http://www.johngoodayphotography.com/blogarticles/2014/12/1/high-rise-living-fox-style monthly 0.5 2014-12-01 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1417429586030-QM0SGDBRA00HJVQE715M/image-asset.jpeg Blog articles - High-rise living, Urban Fox-style (Image: Urban Fox on the prowl. Canon EOS 1DX, EF500mm f/4L IS II. 1/320 sec @ f/4, ISO 5000) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1417429692992-N9ZCZ9Y506394BTLHW4I/image-asset.jpeg Blog articles - High-rise living, Urban Fox-style (Image: Fox safe in a tree, Canon EOS 1DX, EF500mm f/4L IS II, 1/125 sec @ f/4, ISO 4000)   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1417429401528-D3PEKJJZQWIHDJGY45J7/image-asset.jpeg Blog articles - High-rise living, Urban Fox-style (Image: Watching the photographer from a shed roof. Canon EOS 1DX, EF500mm f/4L IS II, 1/250 sec @ f/4L IS II, 1/250 sce @ f/4, ISO 4000)   https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1417428216644-95WP4HT164D8DQQSANR2/image-asset.jpeg Blog articles - High-rise living, Urban Fox-style (Image: female Fox resting on a Clematis-covered flat roof. Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/500 sec @ f/5.6, ISO 2000) http://www.johngoodayphotography.com/blogarticles/2014/11/21/a-portable-reflecting-pool-for-garden-bird-photography monthly 0.5 2014-11-23 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416768290207-8BIAF6QX70SILOBJ706X/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography (Image: Blue Tit reflected in the water tray. Canon EOS 1DX, EF500mm f/4L IS II + 12mm extension tube, 1/640 sec @ f/5, ISO 1600) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416769069864-XKOBDWBD98IGFX3XVB76/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography (Image: Male Blackbird standing on pebbles at the far end of the tray. Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/160 sec @ f/7.1, ISO 1600, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416770868661-IYQMONPIWMILJG896RWV/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography (Image: female House Sparrow. Canon EOS7D, EF100-400mm f/4.5-5.6L IS, 1/500 sec @ f/6.3, ISO 1600, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416764854102-RBOLI9XD4AUJ1KU08CX5/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416767735433-EBBGBF9DQKUN659K8FDJ/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416768418758-QZ9XX3WUDQDHBUVYM5J5/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416769821780-3STR894TE3V61QHO89WH/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography (Image: Rain-soaked House Sparrow photographed on one of the large branches placed along the side of the tray. Canon EOS 1DX, EF500mm f/4L IS II + 12mm extension tuve, 1/200 sec @ f/5, ISO 4000, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416766771166-36FTH40I9LDMNE3RO440/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416612638833-C3DP0K1WYT6LOI6HUF1E/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography (Image: Common Starling bathing. Canon EOS 1DX, EF500mm f/4L IS II + 12mm extension tube, 1/640 sec @ f/5.6, ISO 3200, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416770572784-DEU446KOYR3NCLT482IK/image-asset.jpeg Blog articles - A portable reflecting pool for garden bird photography (Image: The 'raindrops' around this Starling are actually splashes from other birds bathing in the tray below. Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/320 sec @ f/4.5, ISO 1250, tripod, hide) http://www.johngoodayphotography.com/blogarticles/2014/11/21/vole-ing-update monthly 0.5 2014-11-21 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416590213227-2OJYYXFPNBFX1C3M5U2B/water+vole+WEBFRAME+padded++_70R0120++Website.jpg Blog articles - Vole-ing update (Image: Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/250 sec @ f/7.1, ISO 4000, tripod) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416590286947-BV3Y4IGS9FZHSJ2YTRVB/image-asset.jpeg Blog articles - Vole-ing update (Image: Canon EOS 1DX, EF500mm f/4L IS II, 1/4 @ 1/160 sec, ISO 1000, tripod) http://www.johngoodayphotography.com/blogarticles/2014/11/17/the-woodpecker-stick monthly 0.5 2014-11-21 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416186584987-TOQD55HW8NTXT7TCOW76/image-asset.jpeg Blog articles - The Woodpecker Stick (Image: Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/400 sec @ f/4, ISO 800, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416186986515-LV69NX4EZ3TBH6P1TLPR/image-asset.jpeg Blog articles - The Woodpecker Stick (Image: Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/200 sec @ f/4, ISO 2000, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1416185027510-YM7JWNZ2UB741QBBE7G3/image-asset.jpeg Blog articles - The Woodpecker Stick (Image: Canon EOS 5D Mark III, EF500mm f/4L IS II, 1/800 sec @ f/4, ISO 800, tripod, hide) http://www.johngoodayphotography.com/blogarticles/2014/11/13/hanging-with-the-night-birds monthly 0.5 2014-11-21 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415902760245-Q0Y8MP9VDMM4OC8HIET6/image-asset.jpeg Blog articles - Hanging with the night birds (Image: A surprise visit from a European River Otter. Canon EOS 5D Mark III, EF 300mm f/2.8L IS, 1/200th sec @ f/2.8, ISO 3200, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415902688958-ABHI808FDSRL6CISB99O/image-asset.jpeg Blog articles - Hanging with the night birds (Image: Night Heron holding its prize at nightfall. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/1000 sec @ f/4, ISO 2000, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415967580414-Q4L0ABJWOC8UUM4PNC27/image-asset.jpeg Blog articles - Hanging with the night birds (Image: Great Egret catching a fish. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/1000 sec @ f/4, ISO 1250, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415909298244-YG5PMCNZ21FKE6DFM6F2/image-asset.jpeg Blog articles - Hanging with the night birds https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415883356664-UZDAHJOVW0S3F5Y2S4CK/image-asset.jpeg Blog articles - Hanging with the night birds (Image: Black-crowned Night Herons stand motionless waiting for fish to swim within striking distance. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/800 sec @ f/4, ISO 2500, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415909046999-HIXZBAK5XSH9D1HQZX5D/image-asset.jpeg Blog articles - Hanging with the night birds (Image: A solitary Night Heron just before dawn. Canon EOS 5D Mark III, EF300mm f/2.8L IS, 1/320 sec @ f/3.5, ISO 1250, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415902567579-GTGJNCTFNZS8NAX5XDIA/image-asset.jpeg Blog articles - Hanging with the night birds (Image: A Little Egret and a Night Heron having a dispute about who's pool it is. Canon EOS 1DX, EF70-200mm f/2.8L IS II, 1/160 sec @ f/5, ISO 2000, tripod, hide) http://www.johngoodayphotography.com/blogarticles/2014/11/11/memories-of-summer monthly 0.5 2014-11-16 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415731132241-2YBUYKXNMIEHBJO891NZ/bee+eater+_70R0786++Website.jpg Blog articles - Memories of summer (Image: Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/2000 sec @ f/8, ISO 1250, tripod, hide) https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415730446469-W27BYPJT1R0M1VAQGKET/image-asset.jpeg Blog articles - Memories of summer (Image: Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/800 sec @ f/8, ISO 800, tripod, hide). https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415730554006-KBGHWZIJIKZQBT711SQR/bee+eater+8+bit+sRGB+WEBFRAME+++_70R0442++Website.jpg Blog articles - Memories of summer (image: Canon EOS 1DX, EF500mm f/4L IS II + 1.4x III, 1/2000 sec @ f/6.3, ISO 1600, tripod, hide) http://www.johngoodayphotography.com/blogarticles/2014/11/3/nature-in-black-and-white monthly 0.5 2014-11-16 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415045338379-NGY5XOOTH3GTW7KM68CG/image-asset.jpeg Blog articles - Nature in Black and White https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1415026012158-KZ3M6RC76WXVY877JRZA/image-asset.jpeg Blog articles - Nature in Black and White (Image: Barn Owl coming in to land, Czech republic. 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Canon EOS 1DX, EF500mm f/4L IS II, 1/1600 sec @ f/4, ISO 800) http://www.johngoodayphotography.com/blogarticles/2014/11/2/deer-in-the-royal-parks monthly 0.5 2014-11-16 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1414948961561-E5ZHM603LQ6K93SNAIDQ/image-asset.jpeg Blog articles - Red Deer in the Royal Parks (Image: Dominant Red Deer stag bellowing to let other stags know to keep away from his herd. 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Taken by Robin Claydon, May 2016 workshop https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1470038911697-FP2KNXWRPZI5PFW33IJE/great+reed+warbler.jpg Koros-Maros-guest-photos - Great Reed Warbler singing Great Reed Warbler singing in a reed bed. Taken by Jon Winnan, May 2016 workshop https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1470037734243-F5U651EJ38DNPSSF4CJY/DSC_2516EEEE.jpg Koros-Maros-guest-photos - Kestrels passing food Female kestrel taking food from a male to give to chicks. Taken by Robin Claydon, May 2016 workshop https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1470037890250-0JMESDSLUBXHG03KOOS3/DSC_4133.jpg Koros-Maros-guest-photos - Bee-eaters Male Bee Eater with catch, landing next to a female. 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daily 0.75 2018-06-15 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529002632951-TTDBQRNHKJPA9PQE9PZ2/_A8I3663.jpg Hungary Spring Workshops 2018 - European Bee Eater Near the nesting bank, 6:30pm, overcast Single precision focus point on eye, aperture priority mode, -1/3 compensation 1DX II, 500mm f/4 II + 1.4x III, 1/800, f/5.6, ISO 2500 Not much available light for this shot, hence the high ISO in order to keep the shutter speed up. 1/800 at 700mm won’t get the shaking feathers razor sharp but that adds to the sense of motion I think, the birds head stays almost still so it’s sharp - this is key as blurred eyes are quickly picked up by the viewer. I used the histogram to make sure that the image was as bright as possible at capture. This meant I wouldn’t need to brighten it in post processing. This results in less image noise than if the image is underexposed at a lower ISO. I ran the image through a noise reduction package (NeatImage) to minimise noise. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529002632951-TTDBQRNHKJPA9PQE9PZ2/_A8I3663.jpg Hungary Spring Workshops 2018 - European Bee Eater Near the nesting bank, 6:30pm, overcast Single precision focus point on eye, aperture priority mode, -1/3 compensation 1DX II, 500mm f/4 II + 1.4x III, 1/800, f/5.6, ISO 2500 Not much available light for this shot, hence the high ISO in order to keep the shutter speed up. 1/800 at 700mm won’t get the shaking feathers razor sharp but that adds to the sense of motion I think, the birds head stays almost still so it’s sharp - this is key as blurred eyes are quickly picked up by the viewer. I used the histogram to make sure that the image was as bright as possible at capture. This meant I wouldn’t need to brighten it in post processing. This results in less image noise than if the image is underexposed at a lower ISO. I ran the image through a noise reduction package (NeatImage) to minimise noise. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1528996992214-VA8EFKG93W9TYMJHR7GU/hoopoe+noise+reduction+lab+color++_A8I0111.jpg Hungary Spring Workshops 2018 - Hoopoe Main Hoopoe hide, 10:15 am, overcast sky 1DX II, 500mm f/4 II, 1/800, f/5.6, ISO 1250 Single precision focus point on eye, aperture priority mode Aperture stopped down 1 stop from maximum to keep more of the bird in focus. This would have been a much better shot if the Hoopoe’s crest had been raised, but the soft light was too nice not to take the shot. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529000745191-AWI2KLT6LCA3XZOBJVYZ/_70R1115.jpg Hungary Spring Workshops 2018 - Squacco Heron Boat trip, 5pm 1DX, 500mm f/4 II + 1.4x III, 1/2000, f/6.3, ISO 800 Single precision focus point on the eye, aperture priority mode. Shutter speed kept high as focal length of 700mm susceptible to motion blur from combined hand-holding and motion of boat. I shot from a little higher than boat deck level in order to cut out the background reeds and retain a consistent background of water. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529001150783-3X5YIO13OKBEKNUG351L/_A8I1308.jpg Hungary Spring Workshops 2018 - European Bee Eater Pop-up hide at the higher level site shooting back towards the road, 4:30pm, slightly overcast 1DX II, 500mm f/4 II + 1.4x III, 1/1000, f/6.3, ISO 1000 Single precision focus point on eye, manual exposure mode I was very lucky to get away with 1/1000 sec at 700mm - normally movement of the bird at this magnification would result in motion blur. Luckily the Bee Eater froze in this position for a few moments. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529001581849-QWLTZQ2H4XO8EKTNC5YE/_A8I1505.jpg Hungary Spring Workshops 2018 - Female Common Kestrel Tower hide, 5:45 am, soft sunlight 1DX II, 500 f/4 II, 1/800, f/5, ISO 800 Single precision focus point on eye, aperture priority The light was still fairly soft before 6am (you’ll have seen that it can be quite harsh in unshaded places later in the morning). Getting a precise focus on the head rather than the back is crucial to avoid drawing the eye to the wrong place. It’s also worth shuffling about to make sure the bird is in front of either wholly green or wholly blue background - be careful not to have the tree / sky boundary cutting through (or too close to) the Kestrel. Head angle is important in rear-view shots - it’s best to wait until the bird is looking directly sideways, or back towards the camera. If the bird is looking forwards even slight then the image will have far less impact. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529001969363-WABINWMJUEKLH593ZPDP/_A8I3474.jpg Hungary Spring Workshops 2018 - Female Common Kestrel Tower hide, 7:45 am, bright sunlight Single precision focus point on side of head, aperture priority 1DX II, 500 f/4 II + 1.4x III, 1/500, f/8, ISO 1000 The sunlight is getting quite harsh on exposed branches by this time. I used the histogram and highlight alert on the playback to check nothing was burned out. I kept the shutter speed fairly low to reduce the ISO as I knew I would have to boost the shadows in post processing and the shadows are where most high ISO noise is found. For post processing, I reduced the contrast, raised the shadows and lowered the highlights. I ran a bruch down the left side of the hide with +2/3 exposure to further open up deep shadows there. I then used a little clarity to put a little mid tone contrast back in. Both saturation and vibrance were raised to boost the colour saturation as bright sunlight tends to wash out colours. The lens was stopped down one stop from maximum aperture to increase depth of field and keep more of the bird in sharp focus, and also because this gives a sharper image overall when using an extender. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529004205853-ICO5CEENVV0V3T8NFAEY/bee+eater+flight_A8I4440.jpg Hungary Spring Workshops 2018 - European Bee Eater Site in quarry near nesting bank, 7:30 am, sunny. The bird was flying along the ridge above the bank. 1DX II, 500 f/4 II, 1/2500, f/10, ISO 1600 All focus points active with user defined start point, modified AF case 6, manual exposure mode Bee Eaters are very fast and are tricky to catch in flight, especially given the restricted view from the pop-up hides that we were using. You’ll need a high shutter speed, 1/200 upwards for 500mm. Before each shot, I pre-focussed on the grass at the top of the bank so that I would be in the right general area. When the birds appeared flying along the ridge, I followed them and activated autofocus when they were larger than the central circle in the viewfinder. The trick is to get the initial point on the head at the point you hit the focus button, then keep the bird within the section of the viewfinder covered by the focus points and follow its movement as smoothly as possible. The camera can then track the Bee Eater as the point you selected wobbles a bit off the head as you follow it. It does take a bit of practice, and it works best against a smooth, contrasting background. I also set the focus limit on my lens to 10m to infinity to speed up AF. This all-points technique works on Canon bodies with the latest generation: 1DX, 1DX II, 7D II, 5D IV, 5DS/R. The all-point technique works even better on Nikon D5, D500 and D850 models - select 3D focus and erratic subject. For all other camera models, the tracking (at present) isn’t fast enough to cope with Bee Eaters, so I recommend a single point or small group of points for these. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529005553981-ORSQW6EOKTERUXUKWS6M/tern+noise+reduction+lab+color+_A8I5766.jpg Hungary Spring Workshops 2018 Boat trip, 5:50pm, overcast 1DX II, 500mm f/4 II, 1/2000, f/4.5, ISO 2000 All focus points active with user defined start point, modified AF case 6, manual exposure mode https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529012621437-XNONJ0U6HABXL98NO8HQ/bee+eater+lab+color+_A8I1332.jpg Hungary Spring Workshops 2018 - European Bee Eater Upper site, 17:50 pm, evening sunlight. Single precision focus point on eye, aperture priority with no compensation 1DX II, 500mm f/4 II + 2x III, 1/1250, f/10, ISO 800 I don't usually use 2x extenders as the loss of light, contrast and image detail can be a problem. However, in the right conditions they can work well and this Bee Eater in plenty of light was a prime candidate. Adding a 2x to my 500mm gave me the chance to get a detailed close up. There was enough light to stop down the lens a bit to improve sharpness while still allowing a high shutter speed for the inevitable wobble of a long focal length while tracking the bird's eye https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529012626875-BPHJ4W75F48SCFR2ALYS/bee+eater+nest+bank+_A8I9987.jpg Hungary Spring Workshops 2018 - European Bee Eater Quarry site by nesting bank, 06:30, soft sunlight Single precision focus point on eye, aperture priority no compensation 1DX II, 500mm f/4 II + 1.4x III, 1/500, f/8, ISO 1000 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529012633065-VKPIM4FPXNH726PCO96E/bee+eater+spread+wing_A8I2760.jpg Hungary Spring Workshops 2018 - European Bee Eater Quarry site, 6am Manual focus, pre-focussed just behind branch, Aperture priority with -2/3 compensation 1DX II, 500mm f/4 II, 1/2000. f/9, ISO 800 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529012653057-JOI3RQP058VNG2T7T2V3/bee+eaters+lab+color+_A8I2571.jpg Hungary Spring Workshops 2018 - European Bee Eater Courtship Ritual Upper site, 7:30pm Single precision focus point on beaks, aperture priority with +1/3 compensation 1DX II, 500mm f/4 II, 1/2000, f/7.1, ISO 1250 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529012658088-KRJ0TFKORHSZV8XBIRF3/bee+eaterv+lab+color+_A8I3556.jpg Hungary Spring Workshops 2018 - European Bee Eater Upper site, 5:00pm Single precision focus point on eye, aperture priority with -2/3 compensation 1DX II, 500mm f/4 II with 1.4x III, 1/800, f/9, ISO 1600 Bee Eaters will sometimes toss an insect into the air to re-position it before swallowing it whole. Once you know this, it’s a matter of being ready to fire a sequence of shots when you see a bird with a bug. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529012677400-16JFHQWBGMQ20GK6XH3H/bluethroat+labcolor_A8I2078.jpg Hungary Spring Workshops 2018 - Bluethroat Jeep Safari, 5:15 pm Single focus point on head, manual exposure mode 1DX II, 500mm f/4L II + 1.4x III, 1/2000, f/7.1, ISO 1250 The Bluethroat was moving from perch to perch, sometimes against a sky background, sometimes against darker vegetation. I used manual mode to keep the exposure constant and correct, what ever the background (aperture or shutter priority would tend to underexpose against the sky and overexpose against the darker background, requiring changes in exposure compensation as the bird moved around. https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529012689526-7UZG9BJU3AP95UPJED01/corn+bunting+noise+reduction++lab+color+_A8I4404.jpg Hungary Spring Workshops 2018 - Corn Bunting Bee Eater Quarry site, 6:15 pm Single precision focus point on eye, aperture priority with +1/3 compensation 1DX II, 500mm f/4 II + 1.4x III, 1/1000, f/8, ISO 1600 https://images.squarespace-cdn.com/content/v1/543085c5e4b0e7143416ce20/1529012700666-2CHTM4ZHMQV2YS22RPTV/great+reed+warbler+_A8I4144.jpg Hungary Spring Workshops 2018 - Great Reed Warbler Jeep safari, 5:00 pm Single precision focus point on eye, manual exposure mode 1DX II, 500mm f/4 II + 1.4x III, 1/2000, f/8, ISO 1000 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