Recently I left my humble abode with my standard collection of camera gear (Canon 7D Mk II, various Canon lenses, batteries, binoculars, carrying case, etc.), and headed for my own private oasis, a local park.
(I permit, grudgingly, visits from the public-at-large to this cherished refuge; my security detail — Danni On Guard [DOG] — keeps such serenity distractions at a reasonable distance).
As with all things, the distinctly seasonal environment assures gradual and, over time, recurring facets with respect to the soothing foliage and diverse wildlife. Nature's current theme, much to my deep delight, is biased towards daily visitations by representatives of some of my most coveted photographic subjects: herons, egrets, and their kin.
The past few days in particular have been something of a Utopia . . . the normal population of one, or, on a good day, two such elegant (and shy) avian emissaries has suddenly been augmented by six more such angelic visitors — a mix of five Snowy Egrets and a pair of Great Egrets have congregated around the sole pond still filled with sufficient water to be attractive to them.
Consequently, armed with my long telephoto (Canon 300mm f/4-5.6L, effectively a 480mm due to my APS-C sensor), I've been utterly absorbed with the intensely challenging, deeply rewarding adventure of photographing these extremely skittish creatures.
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Over the past few seasons I've learned, by much trial and even more error, some essential techniques which significantly increase the possibility of capturing superior imagery of these regal fliers . . .
[I] BE FULLY PREPARED, GEAR-WISE:
* Carry binoculars for advanced "intel" on the location; utilize them to carefully consider both the approach plan to your subject and when seeking optimal perspectives (see [III] below);
* Ensure lens settings are correct (stabilization modes, aperture) and that the front filter is clean before taking the first shot;
* Review desired focus and shooting modes (BURST mode is mandatory!);
* Verify sufficient capacity on storage media (esp. when shooting in RAW mode); bringing a spare card is advisable;
* Check that the camera batteries are ++charged++; bring at least two fresh ones;
* MANUAL exposure settings: frequently review, comparing best results from prior shoots as per changing lighting conditions;
* Set the shutter speed well beyond the lens focal length (e.g., for a 300mm lens, set the shutter speed to at least 1/500 sec) . . . when photographing swiftly moving wildlife the faster the shutter speed the better — I usually shoot at 1/3200 or faster, when lighting conditions are amenable;
[II] HEED BACKGROUND AND FOREGROUND CONSIDERATIONS:
* Beware undesirable, distracting objects potentially competing for unwanted attention, e.g., buildings, signs, vehicles, flags, hominids, UFOs, Jimmy Hoffa, etc.)
[III] * * * MOVE V E R Y S L O W L Y * * *
* Large birds generally need plenty of "runway" room to become airborne; their "safe zone" extends out accordingly. Ergo, when approaching these subjects it is absolutely imperative to move at an excruciatingly slow pace so as not to provoke a sudden, premature flight into the distance.
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Lastly, this: assume other pesky hominid intruders will appear, ); such entities are notoriously unawares, and usually disinterested in your pursuit of Fine Art in the field . . .
. . . thus, Be ready to leverage these movements: knowing that (much) sooner rather than later these bipedal types will blissfully stroll right over and into the aforementioned avian comfort envelope, as if it doesn't exist — provoking imminent launches into flight by the waterfowl. Paying acute, silent attention to these developments can often yield stellar opportunities to capture imagery of the angelic fliers, close up, as they strive for heavenly safety.
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Leveraging my experiences as outlined above, I was able to capture this image, with astonishingly little time to prepare and execute the shot: once these large, fragile creatures decide to seek safer scenes they waste NO time in escaping the bonds of gravity which keep us mere mortals fixed to the ground, watching, . . .
. . . as I often do, with silent amazement, and reverence.
Snowy Egret, Late Afternoon, Edith Morley Park [7DII.2018.9015]
© 2018 James W. Murray, all rights reserved.
(click image for larger version)
Details:
October 10, 2018;
Canon 7D Mk II; f/8 @ 1/4000 sec; ±0 EV; ISO 640;
October 10, 2018;
Canon 7D Mk II; f/8 @ 1/4000 sec; ±0 EV; ISO 640;
Canon EF f/4.5-5.6L 70-300mm IS USM @ 155mm
