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Posts Tagged ‘Wildlife’

Nature and Wildlife Photography Tips for Beginners

08 Sep

The post Nature and Wildlife Photography Tips for Beginners appeared first on Digital Photography School. It was authored by Adam Welch.

If you have an interest in wildlife or nature photography, then there is a good chance you have seen an image at some point that has completely taken your breath away. Maybe it was a photograph of a sweeping landscape washed in the golden light of the dying afternoon sun, or a close-up of some small natural miracle that you had never noticed before that moment.

You might even have asked yourself, “How did they do that?”

Winter landscape

Well, the majority of those incredible photographs came about through a good deal of physical hardship, practiced patience, and a healthy amount of self-made luck.

Here are some tips to help you become stronger at wildlife photography and better at recording the natural world.

Do your homework before heading out

Be as educated as possible before you ever make a photo. Doing your homework is one of the most important, yet loathed, parts of wildlife photography. It never pays to walk into a situation and be completely clueless.

Though you can never be totally prepared for every challenge you will face (that’s part of the fun), you can educate yourself so that you safely make the most of your outing.

What gear to pack

Advanced gear is not a requirement. However, patience and perseverance are essential. You don’t need the latest and greatest zoom lens or space-age gadgetry in order to produce outstanding nature and wildlife photos.

At the same, you must also understand any limitations of your kit, so that you will have realistic expectations and avoid disappointment.

Deer

This photograph was made using the 28-135mm kit lens that came with my camera after I slowly and quietly crawled into range.

Gear up for what you’ll most likely be shooting. Packing for a photographic outing can cause a lot of anxiety. It’s easy to overpack due to fear of lacking a piece of gear.

Overpacking, though, can be even worse than underpacking. You become weighed down and uncomfortable. You find yourself not enjoying what you’re doing, which is one of the most preventable of all mistakes made by photographers.

Research the animals and scenes you are likely to encounter. Decide what gear most and least important to you. Make choices, commit to them, and then let it go. It will make packing a lot less stressful.

If you plan on photographing wildlife, such as birds and animals that scare easily, then pack your best zoom lens so you can keep distance between you and your subject.

Are you shooting landscapes or scenes where stealth is not a concern? You might consider taking along a wider angle lens to better capture your scene.

Ultimately, there is no secret formula and no true all-in-one lens to cover every situation. Be informed before you leave so that you can make the best use of whatever lens you have.

A good bag is worth its weight in gold

All the planning in the world isn’t worth much unless you can comfortably carry your essential tools with you. Find a camera bag that can carry the gear you need easily and is equally comfortable on your body.

Bags range greatly in price and quality, but you usually get what you pay for. For added peace of mind, you might consider a bag that is semi-weatherproof or water-resistant.

Here’s my go-to lightweight bag for wildlife photography, shown with and without the handy rain cover deployed:

Camerabag

Read reviews and find a bag that fits your body, your gear, and your planned outing. You will have a much more comfortable and enjoyable experience.

Speaking of comfort:

Shoes

Comfort items

Shoes: A good pair of hiking shoes or boots is one of the most important pieces of gear for any wildlife photographer. Grit, dirt, mud, water, insects, rocks, and creepy-crawlies; you need a pair of shoes or boots that can handle all of these elements.

Your shoes should be well-fitting and suitable for walking long distances. If your feet become uncomfortable, it won’t be long before you start thinking about cutting your trip short.

Prepare a checklist

It’s always a good idea to have a mental checklist before beginning any shoot. Before your outing, ask yourself the following questions:

  • Are any special permits or permissions required? Some national parks, state parks, and wildlife sanctuaries require special permits for access to certain areas, especially backcountry environments.
  • Where will I park my vehicle? This is very important. Believe me, if you park your vehicle in an unauthorized area, then you will be stuck with a sizeable fine. Or worse, you’ll return to find your vehicle has been towed.
  • Are there time restraints of any kind? Most natural areas and parks have hours of operation just like a business. You might arrive expecting to shoot a great sunrise, only to find out the location you chose isn’t accessible until after daybreak. Also remember that wild creatures and critters are usually most active in the early morning or late evening.
  • What are the expected weather conditions? This is a biggie. Know what to expect as far as the weather is concerned. Check the forecast the day of departure and keep tabs on it throughout the day if possible. Never risk endangering yourself or your equipment by venturing out unprepared for bad weather.
  • What are the times for sunrise and sunset? Again, be sure the places you want to capture a sunrise or sunset are accessible during those times. You need to also be aware of the sunrise-sunset schedule so that you can allow enough time to reach your location and set up your gear before it’s go time.
  • Are there any commonly photographed animals, landmarks, or structures? Research what is usually photographed around the area you plan to visit. Find a park ranger or staff member and ask about lesser-known spots that are less traveled by tourists. Knowing what’s popular will save you time and help you avoid shooting a scene the same way it has been done time and time again. Look for ways to be creative and set your work apart!

So, you’ve researched your location and have a good idea of what to expect. Here are a few basic tips that can help you after you’ve reached your destination.

Shoot RAW

Shootraw

If possible, set your camera to capture images in RAW format. RAW image files are basically unprocessed (one might say uncooked), straight from your camera’s image sensor. They contain a massive amount of pixel information when compared to JPEGs and take up a lot more memory card space. However, this additional information allows more latitude for adjustments in post-processing.

Use the lowest practical ISO

The ISO number of photographic film and image-sensors relates to their sensitivity to light. The boiled-down explanation is that, everything else being equal, the higher the ISO number, the less light that is required to make an image.

Unfortunately, with higher light sensitivity comes increased image noise. In most (but not all) situations, you will want to use the lowest ISO possible. That is not to say you should be afraid of bumping up the ISO. A fast shutter speed is often needed to capture the quick movements of wildlife, and increased noise is far less noticeable than a blurred image.

Use AF continuous (AI Servo) mode when photographing wildlife

Afservo

Autofocus (AF) can be your best friend or your worst enemy. When it comes to photographing most wildlife, however, autofocus is a great tool!

Animals and birds, especially the wild variety, are almost constantly on the move. They shift positions and move closer or farther away selfishly, with little regard for the photo you are so carefully trying to compose. This is when AF-Continuous and AF-Servo modes come in handy.

Though called different names depending on your camera’s make, these settings both accomplish the same objective: They keep a moving subject constantly in focus.

Place your selected focus point over your subject and half-press the shutter button to engage the AF. Focus will be tracked for as long as you follow your subject while maintaining pressure on the shutter button. Read your camera’s manual (you’ve done that already, right?) for detailed information concerning specific autofocus capabilities for your model, and how each mode can be selected.

Don’t forget the tripod

“I really didn’t think I would need my tripod” are words that usually begin a sad story about how a potentially great shot was missed. In most wildlife and nature photography situations, a tripod is always a good idea. It’s better to have access to a tripod and not need it than to need it and not have one available. Find the lightest and most compact tripod that is sturdy enough to handle your camera setup.

Learn so you can prepare. Prepare so you can photograph. Photograph so you can grow.

Photographing wildlife can be difficult, but it can also yield huge artistic, personal, and even spiritual rewards. So go out and have fun doing what you do, but don’t forget to put the camera down every now and then to enjoy the world around you.

“Nature never goes out of style.” – Unknown

The post Nature and Wildlife Photography Tips for Beginners appeared first on Digital Photography School. It was authored by Adam Welch.


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How to Choose the Best Lens for Wildlife Photography

20 Apr

The post How to Choose the Best Lens for Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.

How to Choose the Best Lens for Wildlife Photography Featured image

Before you select a lens for wildlife photography, first ask yourself – what are you passionate about photographing? Do you love exploring the forest and chasing big cats on a wildlife safari? Perhaps you love photographing birds flying around? Maybe you love to explore reptiles and amphibians?

After you have figured out what you are passionate about, think about how many of those subjects are available and whether you can access that location. For example, if I am passionate about exploring forests full of tigers, leopards, and elephants, I have to see if those subjects – and the location – are accessible to me at least once a month.

Alternatively, if I am passionate about colorful birds, I have to check if I can access those locations at least once a month.

If you can access the location and subject of your choice, you are lucky. It will make your lens selection an easy decision. Since you will be using that lens every month, it makes complete sense to own the glass.

Baya Weaver Bird in flight
Homecoming : Baya Weaver Bird in Flight

On the other hand, if you love birds and African Big five. If you live away from Africa, then it is better to buy a lens that is perfect for birds – which you are more likely to shoot every weekend. Whereas, you may only visit Africa once every three years. Hence, think about it before you purchase a lens.

The most crucial factor is the budget. How much cash you can allocate to the lens. Keep aside some money for the camera body, accessories, and most importantly for travel, as wildlife photography involves a considerable amount of travel. While travel is sometimes hectic and a bit expensive, it is an awesome experience!

Key factors to consider while selecting the lens for wildlife photography

To summarise, below are the key factors to consider while selecting the lens for wildlife photography:

  1. Personal liking
  2. Subject availability
  3. Location accessibility
  4. Budget

Technical factors to consider when choosing the best lens for wildlife photography

Let’s start with the technical factors you should consider while choosing the best lens for wildlife photography.

  1. Focal length range
  2. Maximum aperture
  3. Focusing speed
  4. Controls and ergonomics
  5. Compatibility with Teleconverters
  6. Weather sealing
  7. Low light performance
Tiger in a river
The King – Power, Dominance, Calmness and Royal presence

1. Focal length range

The range of focal lengths is essential to photographing wildlife images. You need longer focal lengths to photograph birds and mammals. For photographing birds, you need a focal length of at least 400 mm. And it can go up to 600 or even 800 mm.

If you are photographing mammals, the required focal length is from 200mm up to 600 mm. The longer the focal length, the better reach you will have.

However, there are exceptions in some of the cases.

When you want to show wildlife in its habitat or if you can approach the wildlife at a close distance, you can use shorter focal lengths, such as 12mm or 14mm.

But in most of the wildlife cases, there will be a distance between you and the wildlife you photograph. Hence longer focal lengths are useful.

2. Maximum aperture

Lens aperture determines how much light passes through the lens to the camera’s sensor. Larger apertures help to capture maximum light.

Large aperture lenses focus faster than smaller aperture lenses too.

In wildlife photography, the action is fast, so to capture fast action, you need a quicker focusing lens. Hence, it’s preferable to use a lens with a large aperture in Wildlife photography.

The maximum aperture can be f/2.8 and f/4. The lenses with a fast aperture (smaller number) can focus fast.

Image quality, depth of field, and sharpness are superb for lenses with a faster aperture.

Select the lens with an aperture value of f/2.8 or f/4. The smallest aperture you can go up to is f/5.6. Try not to choose lenses slower than f/5.6.

How to Choose the Best Lens for Wildlife Photography - Sony FE 200–600 mm F5.6–6.3 G OSS
Sony FE 200–600 mm F5.6–6.3 G OSS

3. Focusing speed

Focusing speed is critical for wildlife and bird photography.

The best lens should focus fast and accurately and should be able to focus precisely – even in the low light as well.

Focusing speed is mainly dependent on the maximum aperture and lens construction.

While looking at the lens construction, we will not be able to figure out the focusing speed. But, based on the maximum aperture number, we can get an idea of lens focusing speed.

A lens with a maximum aperture of f/2.8 or f/4 focuses fast and accurate.

In general, a fixed focal length lens performs better than a zoom lens because of less moving glass elements. (There are exceptions. Some of the zoom lenses focus fast; we will discuss it later in this article)

4. Controls and ergonomics

Controls and ergonomics determine how you can handle and use the lens.

Lens zooming and manual focus rings should be smooth and accurate.

The lens should zoom with optimized ring rotation, so you don’t have to rotate the zoom ring by 360 degrees.

Autofocus and manual override (A/M or M/A) is a great feature. It means you can autofocus the lens. Further, to fine-tune the focus, you can manually focus it.

Vibration reduction/image stabilization helps to compensate for any camera movement. This feature helps to capture a sharp image at low shutter speed.

The weight of the lens is a significant factor in choosing the lens too. Less weight is always preferred because you can carry the lens while hiking or traveling. Similarly, smaller size lenses are right for traveling and packing.

Most of the wildlife and bird photography lenses are a bit heavy and bigger. Of course, there are exceptions. Some of the lenses are equally great in terms of image quality at a much lower weight and size. But the price of those lenses is higher. We will evaluate those lenses as well in the next sections.

NIKKOR AF-S 80-400mm f/4.5-5.6 G ED VR
NIKKOR AF-S 80-400mm f/4.5-5.6 G ED VR

5. Compatibility with teleconverters

As you will be using the lens for many years, compatibility with a teleconverter is essential.
The lens should be compatible (in terms of Autofocus performance such as accuracy and speed) with the teleconverter.

Teleconverters help to expand the range of the lens. For example, a 70-200mm f/2.8 lens with a 2X converter will be 140-400mm f/5.6. It doubles the focal range of the lens and reduces the maximum aperture of the lens from f/2.8 to f/5.6.

For any lens brand, generally, there are 1.4X, 1.7X, and 2X teleconverters. If the lens is compatible with all 3 teleconverters, it’s excellent! But at least it should be compatible with either one of the teleconverters.

If your lens is compatible with teleconverters, you will be able to extend the focal length of the lens.

6. Weather sealing

The right lens for wildlife photography should be able to take beatings from outdoor weather.

The lens should withstand against rain drizzle, temperature extremes (both hot and cold temperatures), and dust.

Weather sealing should be good enough to stop raindrops and dust from entering into the lens.

The weather sealing of the lens depends on lens construction, protruding lens elements, type of seals at zoom/focus ring, and at the camera mount.

With that said, while photographing outdoors, take care. It is always better to clean the lens after each photography trip. Cleaning of lens contacts, lens mounts, front elements, zoom/focusing rings, and protruding parts is good enough.

Black and white photo of an elephant walking
A graceful walk of a Tusker

7. Low light performance

Low light focusing performance is dependent on the lens and camera as well. Both camera and lens play an essential role in low light focusing.

Most of the wildlife action happens during early dawn and late dusk. During this edge of day, light conditions are poor.

Good lenses should be fast and accurate enough to focus in low light.

A lens’s low light performance depends on the maximum aperture and moving glass elements. Larger apertures of f/2.8 or f/4 and less moving glass elements mean the lens focuses fast. (Assuming your camera is having excellent low light autofocus performance.)

Now you are aware of what technical factors to look for, let’s learn what types of lenses are available for Wildlife photography.

Different lens types for wildlife photography

  • Prime Lenses ( Fixed focal length )
  • Telephoto zoom lens
  • Micro 4/3rd format lens
  • Micro Lens
3 oriental white eye birds sitting on a branch
Oriental White Eye Birds

1. Prime lenses

A prime lens has a fixed focal length.

Prime lenses are best for birds and wildlife at a distance.

Because of fewer moving glass elements and maximum aperture, autofocus performance is excellent.

Image quality, sharpness, low light capability, and focus response is excellent for a prime lens. Prime lenses are compatible with teleconverters too.

One caveat is, if the wildlife approaches closer to you, you cannot zoom out and take the picture. Instead, you are stuck with a fixed focal length. In this case, you may want to take a portrait/close up image.

Compositional flexibility is limited when using prime lenses.

Prime lenses are higher in price and can be a bit heavier as compared to zoom lenses.

However, buying the best prime lens is the most significant investment you can make in your photography. These lenses last more than a decade and keep making beautiful images.

Out of your budget, try to spend the maximum amount of money on buying the best prime lens.

Some of the best prime lenses are:

  • Nikon AF-S 300mm f/4E PF ED VR
  • Nikon AF-S 300mm f/2.8G ED VR II
  • Nikon AF-S 500mm f/4E FL ED VR
  • Nikon AF-S 600mm f/4E FL ED VR
  • Sony FE 600mm F4 GM OSS
  • Canon EF300mm f/4L IS USM
  • Canon EF300mm f/2.8L IS II USM
  • Canon EF500mm f/4L IS II USM
  • Canon EF600mm f/4L IS II USM
  • Canon EF400mm f/5.6L USM
How to Choose the Best Lens for Wildlife Photography - Red munia sitting on grass
Red Munia

2. Telephoto zoom lens

A telephoto zoom lens is a variable focal length lens. You can change the focal length of the lens by rotating the zoom ring on the lens.

Telephoto zoom lenses are best for birds and wildlife at long and short distances.

As compared to prime lenses (fixed focal length), Zoom lenses have more moving glass elements. This affects the focus performance.

However, there are exceptions.

Some of the Telephoto zoom lenses are as fast as prime lenses. We will see which of those lenses are in this article.

Telephoto zoom lenses are compatible with teleconverters. However, teleconverter compatibility is limited. Telephoto zoom lenses are fully compatible with some of the teleconverters, while only partially compatible with other teleconverters.

When choosing a telephoto zoom lens, check the teleconverter compatibility as well.

The main advantage of a zoom lens over a prime lens is variable focal length. Variable focal length helps in photographing farther as well as closer objects. Zoom lenses give freedom in image composition as well.

The size and weight of zoom lenses are relatively manageable as compared to that of prime lenses. Most of the zoom lenses are hand-holdable and travel-friendly.

While selecting the telephoto zoom lens, look out for aperture numbers such as f/2.8 and f/4 (for particular lens you can go up to f/5.6). Try to get the largest possible aperture for the telephoto zoom lens. This helps in autofocus performance, low light capability, Image sharpness, and smooth bokeh.

Some of the best Telephoto zoom lenses are:

  • NIKKOR AF-S 70-300mm f/4.5-5.6G ED VR
  • NIKKOR AF-S 70-200mm f/2.8E FL ED VR
  • NIKKOR AF-S 80-400mm f/4.5-5.6 G ED VR
  • NIKKOR AF-S 70-200mm f/2.8G ED VR II
  • NIKKOR AF-S 200-500mm f/5.6E ED VR
  • NIKKOR AF-S 200-400mm f/4G ED VR II
  • Sony FE 200–600 mm F5.6–6.3 G OSS
  • Super telephoto Zoom 100-400mm G Master lens
  • Canon EF100-400mm f/4.5-5.6L IS II USM
  • Canon EF70-200mm f/2.8L IS III USM
How to Choose the Best Lens for Wildlife Photography - Green vine snake
Raindrops and Green Vine Snake

3. Micro Lens

Micro-lenses are a prime lens (fixed focal length).

If insects, snakes, butterflies, or small creatures are your interest, then micro lenses are for you.

The most popular lenses among the photographers are 105mm f/2.8, 180mm f/2.8 and 90mm f/2.8. Among all 105mm f/2.8 lenses are the right balance of image quality, range, size, weight, and price.

Here are recommended micro-lenses from popular brands:

  • Nikon 105mm f/2.8
  • Canon 100mm f/2.8

There are additional micro-lenses from third party brands such as Sigma and Tamron.

How to Choose the Best Lens for Wildlife Photography - sunbird in flight
Sunbird in Flight

4. Micro 4/3rd Format lens

Micro 4/3rd format lenses are a bit different. The cameras with the Micro 4/3rd system have a smaller sensor size.

For example, a full-frame 100mm lens will become 150mm (1.5 X) on the crop sensor (small camera sensor body). Whereas on the micro 4/3rd system cameras, a 100mm lens will become 200mm (2 X).

Micro 4/3rd systems have their benefits such as size, compactness, weather sealing, and convenience. With a small sensor, as compared to a full-frame sensor, there is a compromise in terms of image quality and dynamic range. Lenses for the Micro 4/3rd system are built well. The quality of the glass, weather sealing, and ergonomics are excellent too.

In wildlife photography, weather conditions will be hostile. You have to hike along with your gear. Size and weather resistance of the equipment matters.

Hence specifically for wildlife, photography Micro 4/3rds is an excellent and unique option to consider.

Some of the best micro 4/3rds lenses for wildlife photography are:

  • Olympus M.ZUIKO DIGITAL ED 40-150mm F2.8 PRO
  • Olympus M.ZUIKO DIGITAL ED 300mm F4.0 IS PRO
How to Choose the Best Lens for Wildlife Photography - elephant in the wilderness
Elephant Scape

Process for selecting the best lens for wildlife photography

As you are now aware of what type of lenses are available for wildlife photography, let’s look into the process of lens selection.

These steps will help you to select the best lens for wildlife photography.

Identify your photography requirement

Find out what your area of interest is and identify what you want to photograph. You may want to photograph birds or big animals or small creatures. The key is to find out your objects of interest.

Evaluate the lens

Once you have found out what do you love photographing the most, select the lens accordingly. For example, if you love photographing birds, then select a telephoto (prime lens). If you like photographing butterflies, insects, and snakes, then select a micro-lens.

Rent the lens

Before you buy the lens, rent it. Also, try renting similar options in the lens. For example, if you are looking for a telephoto (prime) lens for birds, then rent and use the lenses such as 600mm f/4, 500mm f/4, and 400mm f/2.8 and see which lens you find comfortable while using.

If you want to photograph wild animals, try using lenses such as 70-200 f/2.8, 300mm f/4, and 200-500 f/5.6. By using the lens, you will be able to evaluate it better.

Buy the lens

Once you have evaluated and tried the lens, it is time to buy the lens. Generally, there is no discount for good lenses. Also, it is better to buy the new lens as you are going to use the lens for a long time (likely, more than a decade). Once you buy the lens, make sure all the functions work correctly.

Make sure you have a lens warranty in place, and you are good to go!

Now it’s your turn

What is your favorite object? Which lens have you selected?

If you have any questions regarding lens selection for wildlife photography, please let us know in the comments below.

The post How to Choose the Best Lens for Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.


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The dPS Top Nature and Wildlife Photography Tips of 2019

01 Jan

The post The dPS Top Nature and Wildlife Photography Tips of 2019 appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

dPS-Top-Nature-and-Wildlife-Photography-Tips-2019

This week on dPS, we’re featuring some of the top articles in different categories that were published on the site throughout 2019. It’s always a bit tricky to gauge the overall popularity, as some were published earlier in the year and have had more time on the site than the ones posted more recently. But still, it gives you an idea!

We’ve already published the overall Top Photography Tips of 2019, the Top Photography Gear Tips of 2019, the Top Landscape Photography Tips of 2019, the Top Photography Post-Processing Tips of 2019, and the Top Portrait Photography Tips of 2019, and the Top Travel Photography Tips of 2019.

So now we have The dPS Top Nature and Wildlife Photography Tips of 2019.

Here are the Top Nature and Wildlife Photography Tips of 2019:

1. 7 Photography Exercises to Take Your Nature Photos to the Next Level

By Jaymes Dempsey

7 Photography Exercises to Take Your Nature Photos to the Next Level

2. The 7 Nature Photography Mistakes You Don’t Know You’re Making

By Jaymes Dempsey

The 7 Nature Photography Mistakes You Don’t Know You’re Making

3. 7 Mistakes to Avoid When Photographing Wildlife

By Jeremy Flint

7 Mistakes to Avoid When Photographing Wildlife

 

4. 7 Techniques for Original (and Stunning) Nature Photos

By Jaymes Dempsey

7 Techniques for Original (and Stunning) Nature Photos

5. 5 Secrets for Stunning Creative Bird Photography

By Jaymes Dempsey

5 Secrets for Stunning Creative Bird Photography

6. Review of the Nikon D500 for Wildlife and Bird Photography

By Shreyas Yadav

Review of the Nikon D500 for Wildlife and Bird Photography

 

7. 5 Tips for Gorgeous Nature Photography Lighting

By Jaymes Dempsey

5 Tips for Gorgeous Nature Photography Lighting

 

8. Using Creative Zoo Photography for Awesome Animal Photos

By Rick Ohnsman

Using Creative Zoo Photography for Awesome Animal Photos

9. How to take Great Flower Photos without a Macro Lens

By Ana Mireles

How to take Great Flower Photos without a Macro Lens

10. Field Test: Could the Nikon 200-500mm f/5.6 be the Most Versatile Wildlife Lens?

By Shreyas Yadav

Field Test: Could the Nikon 200-500mm f/5.6 be the Most Versatile Wildlife Lens?

11. How to Shoot Abstract Flower Photography using Close-Up Filters

By Charlie Moss

How to Shoot Abstract Flower Photography using Close-Up Filters

12. A Quick Guide to Amazing Bird Photography Compositions

By Jaymes Dempsey

A Quick Guide to Amazing Bird Photography Compositions

13. 5 Nature Photography Editing Tips to Create Stunning Images in Seconds

By Jaymes Dempsey

5 Nature Photography Editing Tips to Create Stunning Images in Seconds

14. Tips for Creating Compelling Nature Photography

By Karthika Gupta

Tips for Creating Compelling Nature Photography

 

15. 5 Tips for Better Forest Bird Photography

By Samuel Bloch

5 Tips for Better Forest Bird Photography

16. A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos

By Simon Ringsmuth

A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos

17. How to Shoot Animal Portraits

By Caz Nowaczyk

How to Shoot Animal Portraits

18. 5 Different Approaches to Photographing Wildlife

By Jeremy Flint

5 Different Approaches to Photographing Wildlife

19. Why You Need to Know the History of Flowers in Art and Photography

By Megan Kennedy

Why You Need to Know the History of Flowers in Art and Photography

 

20. 11 Tips for Photographing Bears in Alaska

By André Costantini

11 Tips for Photographing Bears in Alaska

This is the last of the Top Photography Tips of 2019. We hope you enjoyed and learned some new skills from them!

If you have some other favorite nature or wildlife-related dPS post, share it with us in the comments!

The post The dPS Top Nature and Wildlife Photography Tips of 2019 appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Interview: Award-Winnng Wildlife Photographer Buddy Eleazer on why he chose the Olympus OM-D E-M1X

09 Dec
Two rhinos at a watering hole, pictured on one of Buddy Eleazer’s trips to southern Africa.

Olympus OM-D E-M1X with M.Zuiko Digital ED 12-40mm F2.8 PRO
ISO 4000 | 1/160sec | F2.8

Recently, we spoke to award-winning photographer and Olympus shooter Buddy Eleazer about his work, what inspires him, and what he needs from his camera gear when shooting wildlife on African safaris.

How long have you been a working photographer?

I was an active hobby photographer in the 70’s, but got back into photography seriously in 2003 with the advent of digital cameras.

What camera equipment do you currently shoot with?

Right now I’m shooting with two OM-D E-M1X bodies, an M.Zuiko Digital ED 300mm F4 IS PRO, both the M.Zuiko MC-20 1.4x and M.Zuiko MC-20 2.0x teleconverters, and my workhorse lens which is the M.Zuiko Digital ED 40-150mm F2.8 PRO, with some other ‘PRO’ series lenses. Especially the M.Zuiko Digital ED 12-40mm F2.8 PRO and the M.Zuiko Digital ED 7-14mm F2.8 PRO.

When I’m close to the wildlife, the 40-150mm is perfect. When I’m further away I use the 300mm.

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What drew you to the OM-D system?

I’m a fairly recent convert to Olympus – I used to be a ‘full frame guy’. I still love that gear, but there are some definite advantages to the OM-D system. Shooting full frame cameras with prime and zoom telephoto lenses created two problems: a) getting my gear onto flights to and within Africa – especially the smaller planes we fly into the lodges such as the Bombardier Dash 8 and Cessna 203 Caravan prop planes, and b) after a few weeks on safari, my right elbow and both shoulders took weeks to lose the soreness from lifting those big lenses.

I’ve been shooting with Olympus since early 2018. That doesn’t sound like a long time, but with nature photography and leading trips to Africa, that’s over 59,000 images ago.

Behind the picture: Leopard attack

A herd of wildebeest stampeding in the midst of a leopard attack.

Olympus OM-D E-M1X with M.Zuiko Digital ED 40-150mm F2.8 PRO
ISO 64 | 1/30sec | F13

This was a special moment. You never know what’s going to happen on safari, and when things do happen, they can happen very quickly. We were looking at Wildebeest walking left to right, near a water crossing. Suddenly, for no reason that was apparent to me they started running – right to left.

I’d been shooting some panning photographs of them walking so I had the E-M1X set perfectly at 1/30sec with the 40-150mm F2.8 and suddenly they turned and started coming almost right for me. I was clicking away, and as the wildebeest cleared and I could see what was happening, right there in the middle of them was a leopard. The attack had happened right in front of my eyes but there were so many wildebeest in the way I didn’t see it.

How would you describe your style of photography?

I describe myself now as a nature photographer. I love both landscape and wildlife, but in recent years have focused primarily on wildlife with emphasis on African wildlife and North American birds.

I came from landscape photography originally, and I still really enjoy including the landscape in my wildlife photography. I also really like tight details of animals, too. What I teach people in the field is get the safe shot first, but don’t shoot 100 versions of that. Let’s get a tight shot, let’s look for details, the trunk, the feet or tail or something. And then let’s get creative – maybe a panning shot, or something high key. There are lot of those kinds of pictures in my portfolio: what you might call ‘sense of place’ shots, tight shots, panning and so on.

What’s your major priority when selecting camera equipment?

As a wildlife photographer, I have a few key requirements. These include:

  • My lenses must be fast to focus
  • The lenses should be tack sharp when in focus
  • I need my camera to be able to track accurately, especially for birds in flight
  • The camera needs to be able to focus and deliver acceptable images in very early morning and very late afternoon light – when wildlife is often on the move.

A closer look at the Olympus OM-D E-M1X

Buddy shoots with the E-M1X, Olympus’ flagship camera, designed for professional and enthusiast photographers in the sports and wildlife fields. Using powerful processors and ‘deep learning’ AF technology, the E-M1X is blazingly fast and offers the most advanced autofocus system of any OM-D camera. It’s also among the toughest cameras of its type, rated for use in extreme conditions with IPX1-certified weather-sealed construction.

The E-M1X is among the first cameras on the market with AF modes trained to identify specific subjects. Specifically, aircraft, locomotives, and wheeled vehicles (commonly referred to as planes, trains, and automobiles).

The E-M1X features a 121-point all-cross-type on-chip Phase Detection plus Contrast Detection AF system. The on-chip Phase Detection AF allows for high-precision AF even when shooting with high speed lenses.

These modes are smart enough to not only track the outline of say, someone riding a motorcycle, but actually focus on the rider’s helmet, or the cockpit of the plane. For scenes with multiple planes or motorcycles, the camera will settle for the largest in the frame. However, if you’d like the option to toggle between subjects, you can leave the camera in Single Point and manually place your point over the further subject – the camera will then prioritize tracking them instead.

A water buffalo drinking at a pond.

Olympus OM-D E-M1X with M.Zuiko Digital ED 40-150mm F2.8 PRO
ISO 1600 | 1/80sec | F2.8

How does your style of photography inform your gear choices?

I switched to Olympus because the size and weight allowed me to travel easier and hand-hold up to the equivalent of 600mm.

I’ve always loved panning shots but they’re really hard to do with big cameras and lenses. With these light, small lenses, there’s so little effort, comparatively, to stabilize them as you move. There’s in-body stabilization which is good to begin with but with a fast moving animal you need to stay with it in order to get a sharp shot, and the heavier the gear the harder it is to do that. With this OM-D gear it’s literally just like turning your head.

The weight of a system for wildlife photography isn’t in the camera body, it’s in the lenses

I came from full-frame professional DSLRs, and those things are bricks. They wear your body out. The E-M1X is similar in weight to something like a midrange full-frame DSLR, and fits my hand very comfortably.

The weight of a system for wildlife photography isn’t actually in the camera body, it’s in the lenses. The camera is close to your body, but the weight is in the lenses, which extend forward, outwards from you. The weight of the glass in a big full-frame lens is considerable. Shooting the E-M1X with the 300mm F4, which is 600mm equivalent, is like shooting a DSLR with something like a 70-200mm attached. It’s very comfortable.

The PRO Capture mode on the E-M1X has also been a game changer for capturing birds and other animals at the precise moment when the action occurs.

What’s the best advice you’ve ever received as a photographer?

Really there are a few key pieces of advice that have guided me. First, find your own voice with your images. It’s okay to shoot iconic locations, but be creative and put your own spin on the subjects. Second, always seek to simplify the composition. Less is more. Third, know the rules of composition. They should only be guidelines, but if you know them, then you know why you give them respect and know exactly what you are trying to achieve when you are breaking those rules.

What advice would you give to someone who wants to make it as a photographer today?

If you want to be a commercial photographer, listen to your client. Make sure you know what they want before you get too carried away with the assignment. And know your gear. To be successful, you have to be looking through the camera at the subject. You must be able to adjust aperture, shutter speed, ISO and exposure compensation while still looking through that viewfinder.

Elephants in Kenya.

Olympus OM-D E-M1X with M.Zuiko Digital ED 40-150mm F2.8 PRO
ISO 125 | 1/800sec | F2.8

What draws you to Africa?

I go about 6-8 times a year. Primarily I focus on Southern Africa, although about once a year I’ll go to Eastern Africa, to Botswana. Every second year I’ll go to Namibia, but mostly I’m focused on South Africa and Botswana. I like the reserves there, and I know the guides.

What I really like about Southern Africa is how close you can get to the animals. The lodges I focus on have off-road tracking, so you can position a vehicle perfectly for the lighting. You can get off-road and into position. Also because the reserves have been there for some time, the animals are habituated, they don’t get stressed if they see people or vehicles.

In Botswana I love shooting near the water. I really love low-angle shots. Obviously if you’re in a vehicle you have to aim for things up on a hill, to really get low, but if you’re in a hide or you’re on the water, you can get really low, down on the gunnels of the boat and shoot right at water level. Bird life, elephants crossing, buffalo drinking or whatever happens to be there. It’s really cool.

Buddy Eleazer is an award winning wildlife and landscape photographer. His images have been featured by Popular Photography, National Geographic and the prestigious Epson Panorama Awards. He runs Magnum Excursions, and organizes multiple photography trips every year.

See more of Buddy Eleazer’s work

This is sponsored content, created with the support of Olympus. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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Wildlife Photographer of the Year announces LUMIX People’s Choice Award finalists

04 Dec

Wildlife Photographer of the Year LUMIX People’s Choice Award finalists

Drawing over 48,000 entries from 100 countries, the Natural History Museum’s Wildlife Photographer of the Year awards is not only well-known, it’s also the world’s longest-running photography competition. Thanks to a partnership with LUMIX, the public can have their say in which shortlisted image should win. 25 photos have been selected by a panel of judges and anyone can vote for their favorite here.

‘The LUMIX People’s Choice images capture the essence of the competition; they all ignite a reaction about the natural world and make you see it differently. Showcasing breath-taking beauty, compassion and cruelty, it is impossible not to be moved by them – I think everyone who votes has a tough decision to make,’ said Tim Littlewood, the National History Museum’s Executive Director of Science and member of the judging panel.

Those in close proximity to the Natural History Museum of London can view all 25 shortlisted images at the Wildlife Photographer of the Year exhibition. It will be open for viewing until voting closes on February 2nd. The entry that receives the most votes for the LUMIX People’s Choice Award will be on display until the exhibition concludes on May 31st. The winner plus four other top entries will be featured online at The Wildlife Photographer of the Year hub where they’ll be seen by millions of online visitors from all over the world.

Wildlife Photographer of the Year is an annual event hosted by the Natural History Museum. Its goal is to shine a light on nature photography as an art form while challenging the viewer to question the plights facing animals and our planet. Entries for the 2020 competition are open until Thursday, December 12th. Photographers of all ages and skill levels are encouraged to submit their work.

Shortlisted image: Matching outfits by Michel Zoghzoghi, Lebanon

About the photo: Michel was in the Pantanal, Brazil photographing jaguars. One afternoon, as he was on the Três Irmãos River, a mother and her cub crossed right in front of his boat. He watched, mesmerized, as they left the water holding an anaconda with a very similar pattern to their own.

Gear and specs: Canon EOS 1D X Mark II +500mm f4 lens; 1/1250 sec at f13 (-1e/v); ISO 1250.

Shortlisted image: What a poser by Clement Mwangi, Kenya

About the photo: In Kenya’s Maasai Mara National Reserve, Clement spent time observing this beautiful leopard as she soaked up the last warm rays of the setting sun. Clement is mindful to remember to take pleasure in life’s simple moments – being all too aware that sometimes, as a wildlife photographer, you can miss the exceptional while looking for the unusual.

Gear and specs: Canon EOS 5D Mark III + Sigma 150-500mm lens; 1/320 sec at f6.3; ISO 1250.

Shortlisted image: Inquisitive by Audun Rikardsen, Norway

About the photo: From a hide on the coast of northern Norway, it took Audun three years of planning to capture this majestic bird of prey in its coastal environment. After some time, the golden eagle became curious of the camera and seemed to like being in the spotlight.

Gear and specs: Canon 6D Mark II + Canon 8-15mm f4 lens; 1/640 sec at f18 (-1e/v); ISO 400, Canon 600II Flash; Siuri tripod head; motion sensor.

Shortlisted image: Tender play by Steve Levi, USA

About the photo: It was early March and Steve spotted this mother polar bear and her two cubs after 10 days of looking. They had recently left their birthing den in Wapusk National Park, Canada, to begin the long journey to the sea ice so their mother could feed. After a nap the cubs were in a playful mood.

Gear and specs: Nikon D850 + 800mm f5.6 lens + 1.25x teleconverter at 1000mm; 1/1250 sec at f10; ISO 640.

Shortlisted image: Family get-together by Michael Schober, Austria

About the photo: Marmots have become accustomed to the presence of humans in Hohe Tauern National Park, Austria and allow people to observe and photograph them at close range. This behaviour is beneficial for the marmots, as human company deters predators such as golden eagles.

Gear and specs: Nikon D4 + Nikon 17-35mm f2.8 lens; 640 sec; ISO 400.

Shortlisted image: Training session by Stefan Christmann, Germany

About the photo: When Stefan came across this penguin couple in Atka Bay, Antarctica, seemingly with an egg, he was surprised as it was too early in the season for egg-laying. Upon closer inspection he discovered the egg was a snowball! Perhaps the diligent couple were practicing egg transfer in preparation for when their real egg arrived. This is possibly the first time it has ever been witnessed and documented.

Gear and specs: Nikon D810 + Nikon AF-S Nikkor 400mm f2.8 E FL ED VR lens; 1/1000 sec at f4.0; ISO 800.

Shortlisted image: Beak to beak by Claudio Contreras Koob, Mexico

About the photo: Ría Lagartos Biosphere Reserve in the state of Yucatán is home to Mexico’s largest flock of Caribbean flamingos. This chick is less than five days old – it will stay in its nest less than a week before it joins a crèche of other youngsters who wander around the colony searching for food.

Gear and specs: Canon EOS 5D Mark II + Canon 300mm f2.8 Lens + Canon 2X Teleconverter II; 1/160 sec at f11; ISO 1600; Camo throwover blind.

Shortlisted image: Teamwork by Jake Davis, USA

About the photo: Jake was on a boat off the coast of Great Bear Rainforest, British Columbia, Canada where he watched humpback whales bubble-et feeding. Here the leader whale dives to locate the fish, once the fish are located, the rest of the pod swim in decreasing circles while blowing bubbles which create a net, trapping the fish.

Gear and specs: Canon EOS 1D X Mark II + 100-400mm lens; 1/500 sec at f5.6; ISO 2500.

Shortlisted image: A pulsing sea by David Doubilet, USA

About the photo: A school of red tooth triggerfish form a cloud of silhouettes above a river of convict blennies flowing over the coral in Verde Island Passage, Philippines. The Passage, a strait that separates the islands of Luzon and Mindoro, is one of the most productive marine ecosystems in the world.

Gear and specs: Nikon D3S with Nikon 17-35 mm f/28 lens in SEACAM Underwater housing. Sea & Sea YS 250 strobes at ½ power 1/50th sec f/10 at ISO 250.

Shortlisted image: Station squabble by Sam Rowley, UK

About the photo: Sam discovered the best way to photograph the mice inhabiting London’s Underground was to lie on the platform and wait. He only saw them fight over scraps of food dropped by passengers a few times, possibly because it is so abundant. This fight lasted a split second before one grabbed a crumb and they went their separate ways.

Gear and specs: Nikon D500 + 105mm f2.8 lens; 1/125 sec at f2.8; ISO 1000.

Shortlisted image: Ocean’s signature by Angel Fitor, Spain

About the photo: Angel took this image in the waters off of Alicante, Spain. Immersed in a strong current, an otherwise slightly undulating salp chain twists and turning forming whimsical shapes. Salps move by contracting, which pumps water through their gelatinous bodies.

Gear and specs: Nikon D800 + Sigma 20 mm f1.8 lens; 1/250 sec at f16; ISO 50; Nexus D800 housing; Two Retra strobe.

Shortlisted image: Losing the fight by Aaron Gekoski, UK

About the photo: Orangutans have been used in degrading performances at Safari World, Bangkok – and many other locations – for decades. The shows were temporarily stopped in 2004 due to international pressure, but today the shows continue – twice a day, every day – with hundreds of people paying to watch the orangutans box, dance, play the drums and more.

Gear and specs: Canon 5D Mark II +100-400mm f4.5/5.6 lens; 1/100 sec at f5.6; ISO 800.

Shortlisted image: The surrogate mother by Martin Buzora, Canada

About the photo: Elias Mugambi is a ranger at Lewa Wildlife Conservancy in northern Kenya. He often spends weeks away from his family caring for orphaned black rhinos like Kitui here. The young rhinos are in the sanctuary as a result of poaching or because their mothers are blind and cannot care for them safely in the wild.

Gear and specs: Nikon D4S + 85mm f1.4 lens; 1/5000 sec at f1.4; ISO 800.

Shortlisted image: Captive by Marcus Westberg, Sweden

About the photo: A giant panda sits in its cage in a breeding center in Shaanxi, China. With a growing wild population and no realistic plan of how to breed and raise pandas for rerelease into the wild rather than a life in captivity – not to mention lack of habitat being the largest barrier to the continued spread of the wild population – it is unclear how such centers will benefit the species.

Gear and specs: Canon 1D X Mark II + 16-35mm f2.8L III lens at 20mm; 1/60 sec at f28; ISO 2500.

Articles: Digital Photography Review (dpreview.com)

 
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These hilarious photos are the winners of the 2019 Comedy Wildlife Photography Awards

15 Nov

2019 The Comedy Wildlife Photography Awards

The winners for the 2019 Comedy Wildlife Photography Contest have been announced, showcasing some of the more humorous wildlife photos from around the globe.

This year, more than 4,000 entries from 68 countries were whittled down to 40 finalists. Of the finalists, Sarah Skinner’s photo titled ‘Grab life by the…..’ took home Overall Winner, as well as the Creatures of the Land Award. The painfully funny image was captured in the plains of Botswana and depicts a little lioness ‘playing’ in the most unfortunate sense of the word.

In response to taking home the Overall Winner prize,, as well as the Creatures of the Land Award, Skinner had the following to say:

‘I am absolutely delighted to be awarded the title as Overall Winner in the Comedy Wildlife Photography Awards 2019. It certainly warms my heart to know that this image will spread some laughter and happiness around the world. I am happy to report that this lioness continues to thrive in the pride, having seen her again in October this year. I can only hope and encourage everyone, as a collective to each do our part in the conservation of all wildlife species so that future generations can enjoy them, in the same way that I have done during my career as a wildlife photographer. Long may lions walk the plains……….’

In addition to Skinner’s winning photograph, we’ve rounded up the winning photographs from each of the categories as well as the Highly Commended Winners and presented them in the following gallery with permission from the Comedy Wildlife Photography Awards.

As funny a the contest may be, the organization also takes a very serious role in conservation, saying ‘is at the heart of our competition.’ To help kickstart conservation efforts, the Comedy Wildlife Photography Awards offers three tips:

SHOP RESPONSIBLY.?

Try to shop locally and avoid buying un-recyclable products and one-use plastics/packaging.

RESTRICT WATER USE AT HOME.?

Ok, this is the thing, each time you flush the loo we send approx. 20?litres?of water down the drain – seriously, it’s crazy. Have shorter showers, water your garden less and stop flushing the loo every single time. This would save billions of litres of fresh water that could support our environment as well as supply homes and food for a global plethora of wildlife.?

BECOME A “WILD INFLUENCER.”?

This is a special person?who?may be not a mega activist, but really, really cares about the environment and wants to do something to help. For more ideas, please go to: www.comedywildlifephoto.com

Overall Winner/Alex Walker’s Serian Creatures on the Land Award Winner

©Sarah Skinner / Comedy Wildlife Photography Awards 2019 — Grab life by the…..

Image description: African Lion, Savuti (Chobe National Park) Botswana

Spectrum Photo Creatures in the Air Award

©Vlado-Pirsa/ Comedy Wildlife Photography Awards 2019 — Family disagreement

Image description: Birds, Croatia

Olympus Creatures Under the Water Award/Affinity Photo People’s Choice Award

©Harry Walker/ Comedy Wildlife Photography Awards 2019 — Oh My!

Image description: Sea Otter, Seward, Alaska

Amazing Internet Portfolio Award

©Elaine Kruer / Comedy Wildlife Photography Awards 2019 — First comes love…then comes marriage

Image description: Cape Squirrels, Kalahari, South Africa

Highly Commended Winner

©Tilakra Nagaraj / Comedy Wildlife Photography Awards 2019 — Warning! Territory marking, follow at your own risk

Image description: White Rhino, Egret, Nairobi National Park, Nairobi, Kenya

Highly Commended Winner

©Corey Seeman / Comedy Wildlife Photography Awards 2019 — Who would like a peanut?

Image description: Fox Squirrel, University of Michigan, Ann Arbor, Michigan, USA

Highly Commended Winner

©Geert Weggen / Comedy Wildlife Photography Awards 2019 — Squirrel Wishes

Image description: Red Squirrel, Sweden

Highly Commended Winner

©Tom Mangelsen / Comedy Wildlife Photography Awards 2019 — Chest Bump

Image description: King Penguin & Antarctic Fur Seal, South Georgia Island

Highly Commended Winner

©Alastair Marsh / Comedy Wildlife Photography Awards 2019 — Waltz Gone Wrong

Image description: Red Fox, Amsterdam, Holland

Highly Commended Winner

©Martina Gebert / Comedy Wildlife Photography Awards 2019 — Dancing Yeah!

Image description: Marmot, Austria

Highly Commended Winner

©Eric Keller / Comedy Wildlife Photography Awards 2019 — Inconspicuous

Image description: King Penguin, South Georgia Island

Highly Commended Winner

©Elmar Weiss / Comedy Wildlife Photography Awards 2019 — Surfing, South Atlantic Style!

Image description: Gentoo Penguin. Bleaker Island, Falkland Islands

Highly Commended Winner

©Roie Galitz / Comedy Wildlife Photography Awards 2019 — Space Man

Image description: Japanese Snow Monkey

Highly Commended Winner

©Txema Garcia Laseca / Comedy Wildlife Photography Awards 2019 — To be or not to be

Image description: Snow Monkey, Japan

Articles: Digital Photography Review (dpreview.com)

 
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These are the winners of the 2019 Wildlife Photographer of the Year competition

18 Oct

Winners of the Wildlife Photographer of the Year competition

The winners of the 55th annual Wildlife Photographer of the Year competition were announced earlier this week during a ceremony at the Natural History Museum, in London, which develops and produces the international event.

Over 48,000 images were submitted from 100 countries. The 19 category-winning images will be on display at an exhibition that opens Friday, October 18th, at the National History Museum before touring across the United Kingdom and internationally to locations including Canada, Spain, the USA, Australia and Germany.

The Grand Title Winner, titled ‘The Moment’ and captured by Chinese photographer Yongqing Baoas, is a humorous shot of a Himalayan marmot being scared by a Tibetan fox determined to find food for its three young cubs.

Open to photographers of all ages and abilities, entries for the next Wildlife Photographer of the Year competition will open on Monday, October 21st and close on December 12th. Find out more, here.

Winner, Wildlife Photographer of the Year

Winner 2019, Grand Title Winner: The Moment by Yongqing Bao

About the photo: This Himalayan marmot was not long out of hibernation when it was surprised by a mother Tibetan fox with three hungry cubs to feed. With lightning-fast reactions, Yongqing captured the attack – the power of the predator baring her teeth, the terror of her prey, the intensity of life and death written on their faces.

As one of the highest-altitude-dwelling mammals, the Himalayan marmot relies on its thick fur for survival through the extreme cold. In the heart of winter it spends more than six months in an exceptionally deep burrow with the rest of its colony. Marmots usually do not resurface until spring, an opportunity not to be missed by hungry predators.

Gear and specs: Canon EOS-1D X + 800mm f5.6 lens; 1/2500 sec at f5.6 (+0.67 e/v); ISO 640; Manfrotto carbon-fibre tripod + 509HD head

Winner, Young Wildlife Photographer of the Year

Winner 2019, Young Wildlife Photographer of the Year Grand title winner: Night Glow by Cruz Erdmann, New Zealand

About the photo: Cruz was on a night dive with his dad when he saw a pair of bigfin reef squid in the shallow water. One swam off but Cruz quickly adjusted his camera and strobe settings, knowing that the opportunity was too good to miss. He shot four frames of the remaining squid before it too disappeared into the inky blackness.

Bigfin reef squid are masters of camouflage, changing their body colour and pattern using their reflective and pigmented skin cells. They also alter their appearance to help them communicate. During courtship, males and females display complex patterns to indicate their willingness to mate.

Gear and specs: Canon EOS 5D Mark III + 100mm f2.8 lens; 1/125 sec at f29; ISO 200; Ikelite DS161 strobe; Aquatica 5D Mk II Pro housing

Winner, Animals in their Environment

Winner 2019, Animals in their Environment: Snow-Plateau Nomads by Shangzhen Fan, China

About the photo: A small herd of male chirus makes its way to the relative warmth of the Kumukuli Desert. These nimble antelopes are high-altitude specialists found only on the Qinghai–Tibet Plateau. For years, Shangzhen made the long, arduous journey to observe them there. Here he drew the contrasting elements of snow and sand together.

Underneath their long hair, chirus have a light, warm underfur called shahtoosh. It grows tightly against their skin and can only be harvested by killing and skinning the chirus. Protection since the 1990s has seen their once-decimated numbers increase, but there is still demand – primarily from Westerners – for shahtoosh shawls.

Gear and specs: Nikon D5 + 600mm f4 lens; 1/1250 sec at f6.3 (+0.3 e/v); ISO 125; Gitzo GT5532S 6X tripod

Winner, Animal Portraits

Winner 2019, Animal Portraits: Face of Deception by Ripan Biswas, India

About the photo: Ripan was photographing a red weaver ant colony when he spotted this slightly strange individual. It may have the face of an ant but its eight legs give it away – on closer inspection Ripan discovered that it was an ant-mimicking crab spider. By reverse mounting his lens, Ripan converted it to a macro capable of taking extreme close-ups.

Many spider species imitate ants in appearance and behaviour. Infiltrating an ant colony can help them prey on unsuspecting ants or avoid being eaten by predators that dislike ants. This particular spider, says Ripan, seemed to be roaming around the colony, looking for a solitary ant that it could grab for a meal.

Gear and specs: Nikon D500 + 18–55mm lens (reverse mounted); 1/160 sec; ISO 200; Godox V860II flash

Winner, Behavior: Amphibians and Reptiles

Winner 2019, Behaviour: Amphibians and Reptiles: Pondworld by Manuel Plaickner, Italy

About the photo: Every spring for more than a decade, Manuel followed the mass migration of common frogs. He took this image by immersing himself and his camera in a large pond where hundreds of frogs had gathered. There he waited until the moment arrived for the picture he had in mind – lingering frogs, harmonious colours, soft, natural light and dreamy reflections.

Rising spring temperatures bring common frogs out of their winter shelters. They head straight to water to breed, often returning to where they were spawned. Though widespread across Europe, their numbers are thought to be declining due to habitat degradation from pollution and drainage of breeding sites.

Gear and specs: Canon EOS 5D Mark II + 17–40mm f4 lens at 20mm; 1/640 sec at f8 (+0.7 e/v); ISO 800; Seacam housing

Winner, Behavior: Birds

Winner 2019, Behavior: Birds: Land of the Eagle by Audun Rikardsen, Norway

About the photo: Audun carefully positioned this tree branch, hoping it would make a perfect lookout for a golden eagle. He set up a camera trap and occasionally left road-kill carrion nearby. Very gradually, over the next three years, this eagle started to use the branch to survey its coastal realm. Audun captured its power as it came in to land, talons outstretched.

Golden eagles typically fly at around 50 kilometres per hour but can reach speeds of up to 320 kilometres per hour when diving for prey. This, along with their sharp talons, makes them formidable hunters. Normally they kill small mammals, birds, reptiles or fish, but they also eat carrion and have been known to target larger animals too.

Gear and specs: Canon EOS 5D Mark IV + 11–24mm f4 lens at 11m; 1/2500 sec at f14 (-1 e/v); ISO 800; Canon Speedlite 600EX II-RT flash; Camtraptions motion sensor; Sirui tripod

Winner, Behavior: Invertebrates

Winner 2019, Behavior: Invertebrates: The Architectural Army by Daniel Kronauer, Germany/USA

About the photo: By day this colony of army ants raided their surrounds, mostly hunting other ant species. At dusk they moved on, travelling up to 400 metres before building a nest for the night. Positioning his camera on the forest floor, Daniel was wary of upsetting thousands of venomous army ants. ‘You mustn’t breathe in their direction,’ he says.

Army ants alternate between nomadic and stationary phases. These ants are in a nomadic phase, building a new nest each night using their own bodies. The soldier ants interlock their claws to form a scaffold while the queen stays inside in a network of chambers and tunnels. During the stationary phase they will stay in the same nest while the queen lays new eggs.

Gear and specs: Canon EOS 7D + 16–35mm f2.8 lens at 16mm + extension ring; 3.2 sec at f22; ISO 100; Canon Speedlite flash

Winner, Behavior: Mammals

Winner 2019, Behavior: Mammals: The Equal Match by Ingo Arndt, Germany

About the photo: The guanaco turns, terrified, his last mouthful of grass flying in the wind as a female puma attacks. For Ingo, this is the culmination of months of work tracking wild pumas on foot, enduring extreme cold and biting winds. After an intense four-second struggle, the guanaco escaped with his life, leaving the puma to go hungry.

Because they are so abundant in Patagonia, guanacos are common prey of pumas. These big cats are solitary and hunt by patiently stalking before they pounce. Their robust hind legs allow them to take on animals bigger than themselves but they can also feed on smaller animals, such as rodents and birds.

Gear and specs: Canon EOS-1DX Mark II + 600mm f4 lens; 1/3000 sec at f4; ISO 1000; Gitzo tripod

Winner, Urban Wildlife

Winner 2019, Urban Wildlife: The Rat Pack by Charlie Hamilton James, UK

About the photo: On Pearl Street in Lower Manhattan, brown rats scamper between their home under a tree grille and a pile of rubbish bags full of food waste. Lighting his shot to blend with the glow of the street lights and operating his kit remotely, Charlie captured this intimate, street-level view.

Urban rat populations are rising fast worldwide and their association with spreading disease in humans inspires fear and disgust. Rats are smart and capable of navigating complex networks such as subway systems. Being powerful swimmers, burrowers and jumpers makes these rodents particularly well suited to city living.

Gear and specs: Sony ?7R III + 16–35mm f4 lens at 24mm; 1/20 sec at f11; ISO 4000; Sony flash; PocketWizard trigger

Winner, Earth’s Environments

Winner 2019, Earth’s Environments: Creation by Luis Vilariño, Spain

About the photo: Red-hot lava from K?lauea volcano instantly boils the cool Pacific Ocean where they meet at the Hawaiian coast. As Luis’s helicopter flew along the coastline a sudden change in wind direction parted the plumes of steam to reveal the fiery river. Quickly framing his shot through the helicopter’s open door, he captured the tumultuous creation of new land.

As the lava boils the seawater, it produces acid steam and tiny shards of glass, which combine to create a lava haze or ‘laze’. This eruption was K?lauea’s largest in 200 years. For three months in 2018, lava spewed from the summit and surrounding fissures, eventually destroying over 700 homes and solidifying to create hundreds of acres of new land.

Gear and specs: Sony ?7R III + 100–400mm f4.5–5.6 lens at 196mm; 1/4000 sec at f5.6; ISO 800

Winner, Black and White

Winner 2019, Black and White: Snow Exposure by Max Waugh, USA

About the photo: In a winter whiteout a lone American bison briefly lifts its head from its endless foraging. Max purposefully slowed his shutter speed to blur the snow and ‘paint lines across the silhouette of the bison’. Slightly overexposing the shot and converting it to black and white accentuated the simplicity of the wintry scene.

Swinging their huge heads from side to side, American bison sweep away snow with their muzzles to eat the grasses and sedges buried beneath. Originally a common sight, their largescale slaughter for meat and hides brought them close to extinction in the nineteenth century. But populations are recovering and wild American bison now thrive in national parks.

Gear and specs: Canon EOS-1D X + 100–400mm f5.6 lens at 200mm; 1/15 sec at f22 (+1 e/v); ISO 100

Winner, Wildlife Photojournalism

Winner 2019, Wildlife Photojournalism: Another Barred Migrant, Alejandro Prieto, Mexico

About the photo: It took Alejandro two years to take the perfect photo of a male jaguar. Under a luminous, star-studded Arizona sky, he projects it onto a section of the US–Mexico border fence to symbolise ‘the jaguar’s past and its possible future presence in the United States. If the wall is built,’ he says, ‘it will destroy the jaguar population in the United States.’

Jaguars are mainly found in South America but historically also roamed the southwest of the United States. Over the past century, hunting and habitat destruction have resulted in the species disappearing from this area. Any hope of establishing a breeding population in this region rests on the contentious border remaining partially open.

Gear and specs: Nikon D850 + Sigma 14–24mm f2.8 lens at 16mm; 30 sec at f2.8; ISO 1600; remote control; Gitzo tripod; Epson projector

Winner, Rising Star Portfolio Award

Winner 2019, Rising Start Portfolio Award: Frozen Moment by Jérémie Villet, France

About the photo: Entwined in each other’s thick spiral horns, two male Dall sheep pause during a fierce clash. For years, Jérémie had dreamed of photographing pure-white Dall sheep against a snow-clad alpine backdrop. Lying in the snow nearby, he battled with strong winds, heavy snow and bitterly cold temperatures, determined to capture this moment of both ‘purity and power’.

Dall sheep thrive in arctic and subarctic regions of the world. They depend on steep, rugged cliffs and outcrops to provide them with places to escape from predators, while using nearby open grass and meadows to feed. In winter they favour areas with strong winds that remove snow and expose forage.

Gear and specs: Canon EOS 5D Mark IV + 400mm f2.8 lens; 1/1600 sec at f2.8 (+1.3 e/v); ISO 500

Winner, Plants and Fungi

Winner 2019, Plants and Fungi: Tapestry of life by Zorica Kovacevic

About the photo: Festooned with bulging orange velvet, trimmed with grey lace, the arms of a Monterey cypress tree weave an otherworldly canopy over Pinnacle Point, in Point Lobos State Natural Reserve, California. This tiny, protected coastal zone is the only place in the world where natural conditions combine to conjure this magical scene.

Though the Monterey cypress is widely planted (valued for its resistance to wind, salt, drought and pests), it is native only on the Californian coast in just two groves. Its spongy orange cladding is in fact a mass of green algae spectacularly colored by carotenoid pigments, which depend on the tree for physical support but photosynthesize their own food. The algal species occurs widely, but it is found on Monterey cypress trees only at Point Lobos, which has the conditions it needs – clean air and moisture, delivered by sea breezes and fog. The vibrant orange is set off by the tangles of grey lace lichen (a combination of alga and fungus), also harmless to the trees.

After several days experimenting, Kovacevic decided on a close-up abstract of one particular tree. With reserve visitors to this popular spot confined to marked trails, she was lucky to get overcast weather (avoiding harsh light) at a quiet moment. She had just enough time to focus-stack 22 images (merging the sharp parts of all the photos) to reveal the colorful maze in depth.

Gear and specs: Nikon D850 + 70–200mm f2.8 lens at 112mm; 1/4 sec at f8; ISO 64; Really Right Stuff tripod + ballhead.

Winner, Under Water

Winner 2019, Under Water: The garden of eels by David Doubilet

About the photo: The colony of garden eels was one of the largest David Doubilet had ever seen, at least two thirds the size of a football field, stretching down a steep sandy slope off Dauin, in the Philippines – a cornerstone of the famous Coral Triangle.

Doubilet rolled off the boat in the shallows and descended along the colony edge, deciding where to set up his kit. He had long awaited this chance, sketching out an ideal portrait of the colony back in his studio and designing an underwater remote system to realize his ambition. It was also a return to a much-loved subject – his first story of very many stories in National Geographic was also on garden eels.

These warm-water relatives of conger eels are extremely shy, vanishing into their sandy burrows the moment they sense anything unfamiliar. David placed his camera housing (mounted on a base plate, with a ball head) just within the colony and hid behind the remnants of a shipwreck. From there he could trigger the system remotely via a 12-meter (40-foot) extension cord.

It was several hours before the eels dared to rise again to feed on the plankton that drifted by in the current. He gradually perfected the set-up, each time leaving an object where the camera had been so as not to surprise the eels when it reappeared. Several days later – now familiar with the eels’ rhythms and the path of the light – he began to get images he liked. When a small wrasse led a slender cornetfish through the gently swaying forms, he had his shot.

Gear and specs: Nikon D3 + 17–35mm f2.8 lens at 19mm; 1/40 sec at f14; ISO 400; Seacam housing; aluminum plate + ballhead; remote trigger; Sea & Sea YS250 strobes (at half power).

Winner, Wildlife Photojournalist Story Award

Winner 2019, Wildlife Photojournalist Story Award: Show Time by Jasper Doest, The Netherlands

About the photo: For 17 years Riku has performed skits three times a day in front of large audiences in a theatre in Japan. The appeal of these traditional and popular performances lies in the anthropomorphic appearance of the trained macaques. It took Jasper a long time to gain permission to take pictures of the performance, and he was appalled that an animal once considered a sacred mediator between gods and humans was now being ridiculed for commercial gain.

Gear and specs: Canon EOS 5D Mark IV + 24–70mm f2.8 lens; 1/160 sec at f10 (-1.7 e/v); ISO 2000

Winner, Wildlife Photographer Portfolio Award

Winner 2019, Wildlife Photographer Portfolio Award: The Art of Conception by Stefan Christmann, Germany

About the photo: Stefan was lucky to find this isolated couple courting – many pairs had already mated by the time conditions allowed him to access this remote spot. The serene backdrop of sea ice and a distant stranded iceberg softly lit by the setting sun gives no hint that the Antarctic winter is about to intensify.

Emperor penguins form a new bond each year and are monogamous for the season. Males perform a courtship call until chosen by a female. The female lies on the sea ice and signals that she is ready before the male climbs onto her back. ‘The male struggled to keep his balance,’ says Stefan.

Gear and specs: Nikon D810 + 400mm f2.8 lens; 1/400 sec at f5.6; ISO 800

Articles: Digital Photography Review (dpreview.com)

 
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5 Different Approaches to Photographing Wildlife

25 Jul

The post 5 Different Approaches to Photographing Wildlife appeared first on Digital Photography School. It was authored by Jeremy Flint.

Wildlife 01

Brown bear, Yellowstone National Park, USA © Jeremy Flint

Wildlife photography is a popular genre of photography that documents various forms of wildlife in their natural habitat. Seeing and photographing animals in the wild has to be one of the most awe-inspiring experiences imaginable. Nothing compares to sighting a lion running across the Serengeti plains of Africa or a bison family roaming the lands of Yellowstone in the USA. Photographing your pets or animals in zoos can also be just as rewarding. Whether you are new to this genre of photography or have had some practice, here are 5 different approaches to photographing wildlife:

1. Shoot from the vehicle

Wildlife 01

Tourist taking pictures, Yellowstone national park, USA © Jeremy Flint

When viewing and photographing animals in the wild you will want to keep a safe distance. They are wild for a reason and should not be approached. The best way to photograph them is generally from the comfort of your own vehicle.

Encountering animals can be a wonderful thrill, and although there may be an urge to get out of your vehicle for a better look, it is better not to take the risk. You can’t predict the behavior of animals very easily, so it is always safer just to stay in your vehicle and avoid any potential conflict.

Whether you have your own transport or are in a vehicle on a guided tour, they make great places to take pictures from. You can potentially position yourself nearer to the animals than if you were on foot and you can take pictures from a closer range compared with standing out in the open far away from the animal.

Photographing animals from a closer vantage point, and from the safety of your own vehicle, enables the use of a wide-angle lens. This can help to give your images more variety and a different angle to those images generally shot with a telephoto lens.

2. Aim for the skies

Wildlife 03

Bald eagle in flight, Yellowstone national park, USA © Jeremy Flint

Another way to photograph wildlife is to keep an eye out for animals above you. Look upwards and aim for the skies. Photographing majestic birds in flight or circling above you are wonderful subjects to capture.

The beauty of birds in motion can be mesmerizing, especially when the light catches their body and lights up their feathers and wings. With so many different species of birds around the world, photographing birds can be inspiring. Birds move swiftly so be sure to select a fast shutter speed to capture the action.

3. Get on their level

photographing-Wildlife 04

Elk, Yellowstone National Park, USA © Jeremy Flint

One of the best options for photographing wildlife is to get on their level. To add interesting shots of animals, crouch down and get yourself on the same elevation as the animal. Whilst taking pictures from the same height as the animal may be more demanding in the wild, it can result in cute pictures of pets, especially if they are looking right back at you.

4. Shoot from an elevated view

Wildlife 05

Beaver, Yellowstone National Park, USA © Jeremy Flint

Wildlife can be notoriously challenging to photograph, and some wild animals, such as leopards, are renowned for being particularly elusive. Taking shots from an elevated view such as from a tower, the air or from a building can help to improve the sightings of these animals that may be hiding in the long grass.

Also, if you are on higher ground, you are more likely to be at the same height as birds flying past you. Taking photos of birds is surprisingly addictive, and capturing them flying by can produce great results.

5. Shoot from an enclosure

photographing-Wildlife 06

Coyote, Yellowstone national park, USA © Jeremy Flint

When photographing animals in captivity, you will likely have restrictions in terms of where you can take photographs from. For example, visiting zoos, an enclosure, viewing area, or platform are great places to shoot from to capture the animals inside. By practicing shooting animals in your neighborhood or at your local zoo, it will help you to improve your wildlife photography and become more comfortable when shooting in the wild.

Conclusion

Photographing wildlife in their natural habitat can be a great photographic adventure for any aspiring photographer. Different ways to photograph wildlife include shooting from a vehicle, from the same height as the animal, from an elevated view, and an enclosure. Pointing your camera upwards is another great way to give a different perspective to taking pictures from inside your vehicle.

On your next adventure outdoors, whether that is a walk in the countryside, a visit to your local zoo or a trip of a lifetime to see majestic wildlife, don’t forget to take your camera.

Share your pictures with us below!

 

photographing-wildlife

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Review of the Nikon D500 for Wildlife and Bird Photography

01 Jul

The post Review of the Nikon D500 for Wildlife and Bird Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.

Roller with Nikon D500 and Nikon 200-500 f/5.6

Fast action is at the heart of Wildlife photography. Wildlife action is fast and unpredictable. Most of the wildlife, including predators, are active during early dawn and late dusk. During the edge of the day, light conditions are low. Having a range of focal lengths is essential to photograph distant wildlife shots.  The weather conditions are harsh in the wild. Moreover, wildlife photographers try to find a camera which is capable of capturing stunning images in every possible situation in the wild.

Nikon crafted a flagship DX-format DSLR camera – the Nikon D500, with excellent high ISO performance, a faster frame rate, and a fast and accurate focus – even in low light.

What it is?

Nikon D500 with the Nikon 80-200 f/2.8 lens mounted on Gitzo Tripod

The Nikon D500 camera body weighs around 870g (30 oz) including battery and XD card. It is a crop sensor (DX format) DSLR with a 20.9 MP CMOS sensor. The ISO range is from ISO 100 to ISO 51200. This ISO range is useful in getting better image quality even in low light. In addition to high ISO performance,  frame rate and autofocus performance of the Nikon D500 is excellent. Frames per second for Nikon D500 is whooping 10 FPS. The autofocus is fast and accurate in low light as well. Nikon D500 is fully capable of focussing up to f/8 with center focusing points. These key features make the Nikon D500 excellent for Wildlife and Bird photography.

This article is a field-review of Nikon D500 from the perspective of Wildlife Photographer. This review will help you in understanding how the Nikon D500 performs in the field.

Note: All the wildlife and bird images are photographed in the natural forest with uncontrolled light conditions and within their natural habitat.

Images are captured with the Nikon D500 and the Nikon 200-500 f/5.6 lens with a bean bag. Images are captured either from a safari jeep or from a safari boat.

Specifications

  • Sensor and processor – DX format (23.5 mm x 15.7 mm) CMOS sensor with EXPEED 5 processor
  • ISO – ISO 100 to ISO 51200 (ISO Expandable from range ISO 50 to ISO 1640000)
  • AF Modes – Single Servo (AF-S), Continuous Servo (AF-C), Manual and Full-time Servo in Live View
  • AF Area Modes – Single Point AF, Group Area AD, 3D Tracking, Dynamic-area AF with 25, 72 and 153 points, Auto Area AF
  • Power – EN-EL 15 Lithium Ion Battery with MH-25a charger
  • Storage cards – SD, SDHC, SDXC, and XQD cards. One slot for SD card and another slot for XQD card
  • Dimensions and weight – Approximate weight of the body including Battery and card is 870 g (30 oz) and dimensions are (Width x Height X Depth) 5.8 in (147 mm)  x 4.6 in (115 mm) x 3.2 in (81 mm)
  • Frame rate  (FPS: Frames per second) – 10 FPS in Continuous High Mode and for Continuous Low mode FPS Selectable from 2 to 9 FPS
  • Shutter release modes – Single, Continuous Low (2-9 FPS)  and Continuous High (10 FPS), Mirror Up, Self Timer and Quiet release
  • Shutter speed range – Slowest shutter speed is 30 s, and Fastest shutter speed is 1/8000 s
  • Metering modes – Spot metering, Center-weighted metering, and  Matrix metering
  • Exposure mode – Manual (M), Aperture Priority (A), Shutter Priority (S) and Programmed Auto (P)
  • White Balance  – Auto, Cloudy, Direct Sunlight, Flash, Fluorescent, Color Temperature (2500 k to 10000 k)
  • Flash – No Built-in Flash and External Flash is required
  • Image format – JPEG (Basic, Normal, Fine), NEF / RAW (12-bit or 14-bit with an option of Lose less compressed, Compressed and Uncompressed)
  • Lens compatibility – Full compatibility with Nikon AF lenses with G, E, D type and  DX-format lenses. Partial compatibility with PC lenses, AI-P, and Non-CPU lenses

Controls and ergonomics

AF-ON is useful in back button autofocussing. The focus area selection button is next to the AF-ON button. The Nikon D500 has a touch screen, and it can tilt up to a certain angle.

Buttons for selection of White Balance, Exposure Mode, Metering and Image Quality.

Shutter release mode dial.

Buttons for Exposure compensation, ISO selection, and movie recording.

Focus mode selection button.

Controls

Controls on the camera feel perfect for wildlife photography.

Here is why:

  • Exposure selection mode – This button helps to select the exposure modes – Manual (M), Aperture Priority(A), Shutter Priority(S) and Programmed Auto (P)
  • Frame rate setting – This dial helps to set the Frame rate as Single ( S), Continuous Low ( CL), Continuous High ( CH ), Timer and Mirror lockup
  • ISO and exposure compensation setting – the ISO button allows you to change the ISO quickly
  • Focus point selection dial – The Focus point selection dial helps select focus point
  • Focus mode and Focus area mode selection – This button, along with Primary and secondary dials ( Dials used to change the shutter speed and Aperture), is used to select focus modes as Single, Continuous and Auto. The same button is used to choose focus areas such as Single, 3D, Dynamic with 25,72 and 153 focal points, Group area and Auto-area
  • Metering selection button – You can select Spot, Center of Matrix metering from this button quickly. In Wildlife photography switching between Matrix and Spot metering is often required depending on the light conditions
  • AF- ON button – This is one of the most useful buttons on the Nikon D500 for wildlife photography. If the bird is standing on a tree branch or takes quick flight, the AF-ON button helps to capture the image with accurate focus.

Build quality and weather sealing

  • The Nikon D500 is mostly made up of magnesium alloy, carbon fiber, and plastic
  • The weight and size of the Nikon D500 are suitable for all day shooting and even hand-holding. The size of the D500 is perfect while you travel in the wilderness and it is perfectly sized while hiking and traveling in the safari vehicle.
  • Body toughness of the Nikon D500 is decent but not great as that of Nikon D5. I find the durability of earlier versions, such as Nikon D200, D300 or D700 was better than D500. However, the build quality of Nikon D500 feels slightly better than the Nikon D7100 or the Nikon D7200 but up to the standard of flagship DX body.
  • Protection against dust and water splash is decent enough
  • I have used Nikon D500 in moderately dusty environments and medium drizzle. The camera performs fine. In fact, I clean the camera after a photoshoot in the rain or heavy dust and I recommend you do so too. This type of weather sealing may be sufficient for mild dust and water splashes, but it doesn’t look good enough in extreme weather.

Ergonomics and handling

  • Ergonomically, the Nikon D500 feels just right. Important command dials for wildlife and bird photography are located on the camera body itself. This helps you to change the settings quickly.
  • Hand-holding, the Nikon D500, feels better. One caveat is the video recording button is located a bit oddly. Despite using it multiple times, I still get confused in locating the video recording button. Apart from the video recording button, you will find the buttons and dials are at the right place with the correct size.

Camera performance from the perspective of Nature and Wildlife photographer

Autofocus performance

Osprey in flight. Focus performance of the Nikon D500 for Birds in flight is excellent. Exif : 1/800s , f/8 and ISO 450

Bird action happens fast and can be erratic. Wildlife movement is also fast as it occurs at dawn or dusk. The ability of the camera to focus fast and accurate is a must. With the Multi-Cam 20K Autofocus Sensor module, Nikon D500’s autofocus capabilities are excellent. The Nikon D500 focuses accurately (provided you choose the appropriate focus mode and focus area mode).

I use back button autofocus for focusing. There is a dedicated button for back button autofocus, which is AF-ON.

Hare in the clutter. The Nikon D500 precisely acquires focus on the main object even through the forest clutter.

The Nikon D500 focusses extremely well in following conditions:

  • Daylight
  • Cloudy and rainy weather
  • Low light
  • Distant objects
  • In the forest clutter and forest canopy
  • Dusty and snowy weather
  • Birds in flight and animals in action

In terms of autofocus performance, the Nikon D500 is an absolute winner.

Deer crossing the safari track. The camera’s focus performance for distant objects is excellent. This deer was crossing the Safari road. The distance between the deer and our vehicle was around 100 meters

Image quality – Colors, details and dynamic range

Colors of the peacock. Color rendition and image quality of the Nikon D500 is great. Exif: 1/100s, f/5.6 and ISO 720

Colors, tonal range, and dynamic range of the Nikon D500 images is excellent. Metering of the Nikon D500 is fantastic. It evaluates and produces correct image exposure.

Stare of an eagle. The Nikon D500 captures the details perfectly. Exif: 1/400s, f/5.6 an ISO 500

For most of my wildlife images, I use Matrix metering. For some tricky light situations, such as harsh lights or shadows, and if the animal is dark or bright, I switch to Spot metering mode. Matrix metering will give you excellent light exposure.

Jungle fowl calling. Feather details are excellent. Exif: 1/250s, f/5.6 and ISO 450

The elephant in its kingdom. Colors and details of the elephant are accurate. Exif: 1/1000s, f/5.6 and ISO 2200

The dynamic range of the Nikon D500 is improved as compared to earlier versions of the DX format Nikon cameras. If the light is sufficient, I set the exposure compensation to +0.3 or +0.7. Exposure compensation shifts the histogram towards the right. It helps in bringing out the details and enhancing the colors in an image.

Nikon D500 review for wildlife and bird photography 7

The Dynamic Range of the Nikon D500 is wide. The camera was able to capture the eyes and feathers in the shadow. Equally, the Nikon D500 captured the highlighted crest on the head perfectly.

High ISO and low light performance

Image quality and ISO performance in low light are much improved in the Nikon D500. The camera ISO has a range from ISO 100 to ISO 51200. In controlled light conditions or lab test, the Nikon D500 Images may look less noisy. However, when you are shooting with the Nikon D500 in the real jungle and natural light conditions, you have to be realistic when you select your ISO.

Nikon D500 review for wildlife and bird photography 6

Peacock at ISO 1600

I use a maximum ISO up to 6400 in most cases, and for some rare wildlife moments, I go up to ISO 12800. In the forest, especially during the early morning or late evening, an ISO of up to 6400 helps.  With ISO 6400, I can get a sharp image with excellent dynamic range. The colors are also good. These images are perfectly usable for big prints and web-sized images.

Nikon D500 review for wildlife and bird photography 5

Bond of Nature. Family portrait at ISO 4000

Whereas, if you go ridiculously high on ISO such as ISO 51200, you will still get an image, but you will have to apply Noise reduction in post-processing. Also, the image loses the fine details. If you are going to print the image, select the reasonable high ISO at the available light conditions.

Bottom line

The Nikon D500 has improved high ISO and low light performance. Up to maximum ISO 6400, images are great. The sharpness and colors are fantastic and noise levels are low and manageable in post-processing.

Nikon D500 review for wildlife and bird photography 4

Sambar deer at ISO 6400. It was almost dark in the forest. Luminance noise is visible in the image.

Nikon D500 review for wildlife and bird photography 3

Mongoose at ISO 6400. It was almost dark in the forest.

White balance

Nikon D500 review for wildlife and bird photography 2

Fish eagle on the perch. Auto White balance for the Nikon D500 produces color temperatures and tint accurately.

The auto white balance of the Nikon D500 is accurate. The camera produces white balance without any shift in color or tint. All the color temperatures look right.

Other than Auto White balance, there are different white balances available such as Daylight and Shade. All produce good results.

For wildlife and bird photography, I recommend you choose Auto White Balance. It will help to reproduce the correct white balance for your images. If you want to add creative effects, you can always tune the raw image in post-processing.

Bonus: My D500 camera settings for wildlife and bird photography

  • Image Quality: RAW
  • NEF (RAW) Recording: NEF RAW Compression: Loose-less compressed and Bit Depth: 14-Bit Depth
  • Color space: Adobe RGB
  • Picture Control: Standard (SD)
  • ISO: Auto ISO with Maximum ISO as 6400 (It will depend on the lighting conditions, but I find 6400 is the right balance for image quality and low noise)
  • Autofocus mode: AF-C (Continuous)
  • Autofocus Area mode: Dynamic (25 points) or Group area focus
  • Exposure mode: Manual (Shutter speed and Aperture will be set based on the available light in the environment). You can also use Aperture priority as an Exposure Mode.
  • White Balance: Auto
  • Metering: Matrix
  • For autofocus, use Back button autofocus: AF-ON
  • Shutter release mode: Continuous High CH (10 FPS) or Continuous Low CL (6 FPS)

Conclusion and recommendations

Pros

  • 10 FPS (Frames Per Second)
  • Fast and accurate focus even in low light
  • Good High ISO Performance
  • Superb image quality and dynamic range
  • Excellent ergonomics
  • Perfect location of camera buttons and dials
  • Autofocus with central autofocus points up to Aperture of f/8

Cons

  • No Built-in flash and GPS
  • Location of the video recording button
  • Above average Build quality and weather sealing (Not the best in class)

In summary

The DX sensor, superior autofocus performance, high ISO performance, best in class frames per second (10 FPS), and travel-friendly size makes the Nikon D500 perfect for wildlife and bird photography.

You will love using Nikon D500 in the wild.

What do you think about the Nikon D500 camera? Please do let us know in the comments below!

 

Nikon D500 review for wildlife and bird photography

The post Review of the Nikon D500 for Wildlife and Bird Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.


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Wildlife Photographer of the Year Disqualified Due to Image Manipulation

08 Jun

The post Wildlife Photographer of the Year Disqualified Due to Image Manipulation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Africa Geographic announced its 2019 Photographer of the Year title, awarded for a dark, captivating close-up of an elephant.

Just days later, the image was disqualified and the Photographer of the Year title revoked.

winning image

In a statement that’s become more and more familiar in past years, Africa Geographic explained that “post-production work by the photographer resulted in certain tears in the ears of the elephant not being accurately reflected.” This violated one of the Photographer of the Year entry rules:

“Entries should be a faithful representation of the original scene. Localized adjustments should be used appropriately. The objective is to remain faithful to the original experience, and to never deceive the viewer or misrepresent the reality.”

Africa Geographic provided another, unedited version of the same elephant:

elephant unedited photo

Note the holes and rips on the elephant’s left ear.

The CEO of Africa Geographic went on to say: “We are gutted to have missed this detail about the rips in [the elephant’s] ears…That said, we will take this on the chin and improve our systems going forward.”

When asked about the image, the winning photographer claimed that the violation was unintentional (that it accidentally occurred when he was “cleaning up the image,”) and the contest judges have accepted this explanation.

This brings to mind a few questions:

First, how unintentional was this violation? Looking at the disqualified photo, I have trouble believing that the photographer removed the holes and rips in the elephant’s ears by accident. Did the photographer not realize that such post-processing violated the contest rules?

What are your thoughts? Did the winning photographer know that they broke the rules?

And the second big question:

Should this type of editing be allowed? 

This is a much more difficult question, one that comes down to our values as photographers. Personally, I lean toward prohibiting this type of editing. There’s something important about showing an animal as it truly is, including all the hardships it’s faced, which I think the rips and tears in the elephant’s ears exemplify.

But I’d love to have your input:

What are your values when it comes to editing nature photography? What should be allowed in nature photography contests?

The post Wildlife Photographer of the Year Disqualified Due to Image Manipulation appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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