08 May Tools & Techniques for Wildlife Photography
“Like being a young child learning about the world for the first time, creativity is free play for adults.
It’s easier to find joy in a process of creating when you stop binding
yourself to a specific set of rules or ways of doing things”“We aren’t creating to sell material products”
Rick Ruben
I love the creative process and recently had the privilege of speaking at an Art festival (to the exhibiting artists) about the wonder of creativity and how to set the table for its success. I spoke about how we are all made to be creative and shared vulnerably about the practices of perseverance, curiosity and being still. I was blessed by the time and was encouraged by the response from those who attended.
One of the things I have noticed about creativity is that if you try too hard to be creative, you often undermine the process itself. In my experience, being stressed and/or anxious and/or feeling you have to perform is not helpful. I recently watched an interview with John Cleese talking about creativity. He explained how you have to be willing to speak without boundaries and not allow failure, embarrassment or fear to get in the way of things. What he said resonated with me, as it spoke to allowing ourselves to be free and authentic. A few months back I read an academic paper on creativity that spoke to small and big creative moments and cited the close correlation between authenticity and the occurrence of these events. Definitely food for thought!
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Featured Image: A “high key” image of a Red-collared Widowbird amongst the tall Mistbelt grasses in the Natal Midlands of South Africa.
Camera & lens: Canon R5 and 600 f4
Camera settings: ISO 6400 | Exposure +3 | f4.5 | Shutter speed 1/2500
In today’s world, the quest for tangible results and quantifiable, measurable outcomes that define success, often get in the way of the creative process (and many other things). If you are wanting to push your creative boundaries in photography (or life or business), putting less emphasis on results and more focus on being who you are, learning and defining what you need to practice, putting in the effort and trusting the process may be excellent steps in the right direction.
Part of setting the table for my own creative success is identifying the tools and techniques I have available as an artist/photographer, selecting the ones that excite my heart (for the images I love) and then practicing them towards a state of mastery. I see practicing what I love as a key input into my own creative process. It allows me to identify more creative opportunities and helps me take advantage of them when they appear.
For this newsletter, I felt to share some of the thoughts, approaches, tools and techniques that I consider when building a portfolio of a specific subject. It is not meant to be an in depth study or a full list of options (as my practical, 18+ hour online, Mentorship Programme provides for that), rather a very high level, visual account of some of what I do. I also really wanted to show off a family of birds I love and some of my latest photographs of them. I hope you like Widowbirds!
Different genres
When looking to create or add to a portfolio of a specific bird species or family of birds, I will often consider the type of image I am looking to take. Am I looking to capture a portrait that shows off the character and personality of the bird or am I looking to capture a certain behavioural aspect or am I looking to reveal more about where the bird lives and how I experience them. A good question to ask is “What do I want to say about my subject?’ and then go out to try and make this vision a reality.
The type of genre/image I select will often influence my choice of camera and lens, the light I shoot in, as well as how close or far I will position myself from my subject. Each genre (and sometimes my vision within the genre) requires a slightly different approach and mindset and they all require practice.
I love how portraits capture the nature of our subjects. They can show you the personality of the bird, its key features and some of the poses and expressions that capture its essence. The simplicity of portraits (i.e. you have a branch, a bird and a background/foregorund) make this a very challenging genre, as it is difficult to achieve images that are unique and capture the imagination of your audience. This image is one of my favourite portraits of a Red-collared Widowbird. I have tons of portraits of them but this one captures much of what I love about their character and key features. When looking to take shots like this, a camera that produces high quality images and a lens (e.g. a prime 500mm or 600mm lens with an fstop of 4 or below) that can get you close and produce excellent “bokeh” are very helpful tools.
To capture movement or behaviour, you need to be able to get your focusing system in close proximity to the action and you need to be able to have sharp reflexes and the ability to pan smoothly at different speeds. This is one genre where consistent and regular practice is a pre-requisite for dependable success. Movement is a principle of composition and is a very powerful way of drawing your audience in and getting them to wonder about what is happening. It also has the ability to tell alternative stories and show different characteristics of your subjects. A camera that enables a high frame rate per second and has an effective focusing system, together with a long and fast focusing lens are my tools of choice for action.
Habitat or birds in environment images are undoubtedly my favourite. When you go wider you increase the number of elements (e.g. colours, lines, depth, shapes etc) in the photograph. Although this adds to the complexity of achieving a good composition, it adds equally to the story-telling potential of this genre. I love telling stories that speak to both the bird’s character as well as its behaviour and habitat. I find them more compelling, more interesting and likely to evoke more emotion over time. Depending on the story I want to tell, I will shoot these images anywhere from 34mm and f14 (for wide angle birdscapes) to 600mm and f4 (for habitat shots that give a sense of the environment but not the wider landscape)
Different uses of light
Whether I am capturing portraits, behaviour or habitat shots, I always like to experiment with different types of light. When I started photography I was terrified of any light other than golden light falling directly on my subject. This initially held me back from exploring the diversity of light and all the benefits that come with this. Variable light scenarios can tell different stories about my subject, reveal different aspects or features of my bird’s makeup as well as influence the mood or feeling of a scene. Light is our most powerful tool and I encourage everyone to play with it!
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- A side-lit Red-collared Widowbird near my home in Balgowan. Side or back lighting is a powerful mood enhancer and can create wonderful leading lines and shapes. It can also highlight aspects of a bird or animal that are less evident in “normal” light conditions.
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- A classic portrait of a Fan-tailed Widowbird in its beautiful grassland environment. If you want clarity of details, vibrant colours and light that shows off the magnificence of the bird and its surrounds then a front lit subject in stunning golden is an obvious choice. With black or white birds, I also often enjoy an overcast day that produces diffuse lighting or the more subtle, late afternoon golden light.
A close up portrait of a Fan-tailed Widowbird showing off the tail from which he gets his name. Although this is a very simple portrait with front lighting, I like how it reveals all the details of this specific feature.
When I first saw Red-collared Widowbirds in back-lit conditions against a dark forest background, I could not help but notice how the light revealed specific details of their wings that I had not seen before. I loved how it lit up the edges of the wings as well as revealed the subtle white lines on the back. After observing these features, I was determined to find an interesting way to show them off. This is one of my favourite images from the time. I have named it after a book that had a deep and long lasting impact on my life; “The Cross and the Switchblade” (a book on the life of an American gangster called Nicky Cruz).
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- I get excited when we have overcast days in summer. If the clouds are not too thick and allow enough diffuse light through, it provides the perfect opportunity to achieve “in camera” high key images. The next step is to find a compelling subject and a location where you can line them up (ideally at eye-level) against a white cloud background.
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- One of my favourite images of a Red-collared Widowbird from a recent project with them. The study or use of light is not only about how it falls on your subject but also how it lights up the surrounding environment. In this example, there is no direct light hitting the bird (i.e. the bird is in shade), rather the light is illuminating the grasslands in the background. This can make for some very moody and compelling imagery as you get a strong, high contrast silhouette as well as the rich, varied and warm colours of the background.
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- Backlighting can significantly alter the atmosphere of the image and hence, the type of story being told. It can also simplify things as well as draw the eye of your audience through clever use of contrast and accents.
Different perspectives and presentation techniques
When I find a confiding subject (that is ideally going to be in the same place tomorrow) I always look to work the scene. What I mean by this is that I will walk all around the subject in a variety of different light conditions to see what is available. This allows me to analyse the story telling nature of the environment he or she is in and consider the different perspectives these angles provide. I will also consider how different distances from the bird and different lenses will add to my options. And if possible, I will see if I can get above or below the subject for the same reasoning. These angles, distances and different lenses will reveal all that is on offer and I can then start focusing on the specific stories/projects/images I want to tell/embark on/take.
Understanding the complexity of compositional theory is one of my most powerful tools when it comes to this phase of the photographic process, as it reveals to me the multitude of ways I can position the elements in front of me to create a pleasing image. It helps give me the answers to a variety of questions; where are good spots to place the subject, what elements should I include or leave out, what colours could add or take-away from the story I want to tell, how can I intensify the mood or increase the sense of depth in my photograph, what elements can I use to establish an effective focal point… and the list goes on. This tool gives me confidence to know that I have evaluated my options well and enables me to select the best frame or area to focus on.
Once I have chosen where to focus, I will also consider what certain presentation techniques could add to my list of story-telling options; with high key, low key and black & white being three of my main considerations.
Using a “high key” presentation is an awesome way to focus your audience on the essence of your subject and add some minimalistic images to your portfolio. This image was highly commended in the creative category of Bird Photographer of the Year a few years back and is still one of my favourite “high key” shots. For this one, I had to use post processing to change the background from pale blue to pure white, something I prefer to do “in camera” when I can.
Long-tailed Widowbirds are incredible and if you can get their tails and bodies to produce a beautiful arabesque then you are well on your way to producing an interesting action shot. Backgrounds that have two or three colours of the same tonal value can add the variety I want to these type of images without taking away from the focal point and visual hierarchy.
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- Making slight adjustments to your composition can provide a more interesting take on a common subject. This can draw attention and help separate one flight shot from another.
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- How far you decide to stand away from your subject, what lens you use and from what angle you shoot, will all add to the diversity of your portfolio. This is still one of my favourite flight shots of a Long-tailed Widowbird. It shows a classic flight pose but also reveals the nature of his habitat; in this case the flat grasslands of Devon in Gauteng.
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- When you combine “high key” and action to produce a minimalistic image, it can achieve a mood and focus that other options may find difficult to beat.
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- A “low key” presentation is incredibly difficult to perfect in camera, but is worth experimenting with when the conditions allow it. The dark forest background in this photograph contrasted brilliantly with the white markings on the Widowbirds wings and (together with the lighting conditions) created a sombre atmosphere, which I haven’t been able to easily replicate.
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- Different backgrounds can enable the use of compositional guidelines like framing. Combine this with a flight shot and you can often create another image that is worth adding to your portfolio.
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- Learning which images to convert to black and white is a skill in and of itself. I am definitely in the learning phase here, but liked how the range of tonal values, textures and shapes in this image of a Fan-tailed Widowbird provided a different look and feel and how a “black and white” conversion helped bring some simplicity to a very busy image.
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- Some concepts or images of mine are a work in progress and that is ok. In this case, I like the overall idea of this frame but need more compositional elements to come together before I have finished what I set out to portray.
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- How I see them! A male, Long-tailed Widowbird in his grassland habitat at Rietvlie Nature Reserve in South Africa. At the start of my photographic journey this type of image was what I called my classic “habitat shot”. I would often stand a little further away from my subjects to bring in a bit of their environment and then use a prime lens and a low fstop to get the necessary separation and pleasing bokeh.
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- A classic “habitat shot” of a Fan-tailed Widowbird captured at Thurlow Nature Reserve in the Natal Midlands of South Africa.
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- Another take on a Red-collared Widowbird photographed near the Drakensberg Sun in South Africa some years back.
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- A recent image of a Red-collared Widowbird taken within a few days of the featured image. The repeated, tall vertical lines, soft pastel colours together with the high key presentation make it a little different to my other “high key” shots.
Move a little closer and you get a simple, high key portrait instead.
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- By adding a little more complexity and backlighting, I was able to add even further diversity to my portfolio.
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- Subtle use of in focus and out of focus elements can add a sense of depth to an image.
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- Artists look to use “layering” to produce depth in their paintings. In the same way, using out of focus foreground elements as well as out of focus background elements can add another layer of depth to our photographs and help draw our audience deeper into the story. Based on my studies there are at least 6 ways that we can produce greater levels of depth in our photographs.
Different camera settings and techniques
Different camera settings and techniques are undoubtedly a key consideration in our creative process as photographers. Selecting your fstop (i.e. what you want in focus versus out of focus), deciding on your final exposure (i.e. how light or dark you would like to present a scene), picking your white balance or appropriate kelvin (i.e. how cool or warm you want the colours to come across) and/or choosing your shutter speed (i.e. how much blur or lack of blur you would like in your subject or scene) all influence the final result.
Indeed, shooting with a low shutter speed can significantly change the final product. You can use blurring, panning or intentional camera movements to completely alter the story in front of you, to give a sense of movement or create more abstract lines and shapes. If you love the stories that this technique enables, then practice it and learn to master the environments and conditions in which it works most effectively.
I personally don’t like panning or intentional camera movement but have practiced blurring elements in my photographs to achieve a sense of movement. I feel this technique can enhance a photograph in many ways e.g. through bringing needed simplicity or increasing interest and intrigue. I still, however, need to figure out how to include this when it comes to my Widowbird portfolio (perhaps blurring grass on a very windy day).
Here, however, is one example of blurring when it comes to Mountain Wagtails.
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- I dont get the chance to use “blurring” often but love how it can give a sense of movement to scenes like this one of a Mountain Wagtail. Using a slow shutter speed (usually between 1/10th of a second and 1/60th of a second depending on the speed of the element you want to blur) can also simplify a scene that may have been too busy for story-telling without it.
I hope this visual account of some of the tools and techniques I use in the field will help give you some ideas for your own portfolios. The more you practice the tools and techniques you love, the more options you will see in the field and the more ready you will be to take advantage of the opportunities that present themselves.
Completing Richard’s bird photography mentorship has been a rewarding and eye-opening journey for me. His deep understanding of photography, shaped not only by his technical expertise but also by his study of many great artists, brought a unique perspective to the sessions. His ability to weave artistic principles like composition, balance, and storytelling into the natural world has transformed how I approach my photography. His emphasis on getting things right in-camera and minimizing editing was a refreshing challenge, encouraging me to be more intentional with every shot. What made this mentorship truly special for me, was Richard’s focus on the artistic side of photography. Drawing inspiration from his study of various art forms, he taught me to think beyond technical perfection and embrace creativity. He often highlighted the importance of trusting my instincts and pursuing what feels right to me, even if it goes against conventional norms or draws criticism. This shift in mindset helped me see my work as a form of self-expression, beyond just technical expertise. Through this mentorship, I’ve come to see the natural world in a new way. Richard’s passion for birds and their habitats, coupled with his insights from the broader art world, inspired me to look for beauty and stories in even the smallest details. His teachings have helped me develop not just as a photographer, but as someone who appreciates and creates art with purpose, or as he might say, with heart. I would highly recommend his mentorship to anyone seeking to refine their craft and discover a new dimension to their photography.
Jayesh H (Gauteng, South Africa)
I wanted to take a moment to sincerely thank you for the tremendous enjoyment that I’ve experienced thus far, as one of your Mentorship students. From the outset, I could tell that your passion for wildlife and deep understanding of artistic principles would make this course special, and I wasn’t disappointed. Your teaching style is both engaging and insightful. You did an excellent job of breaking down complex concepts into easily digestible parts, allowing me to grasp the fundamental principles of composition without feeling overwhelmed. The way you connected each lesson to real-world examples helped me understand how these principles apply to my own photography, and I found the assignments to be both educational and rewarding. The constructive feedback you provided was invaluable, helping me refine my technique and develop a stronger eye for composition. One of the aspects I most appreciated was your ability to create a welcoming and supportive learning environment. I never felt hesitant to ask questions or share my work, and your encouragement fostered a sense of confidence that has motivated me to continue exploring photography further. Thanks to your guidance, I now have a deeper appreciation for the subtle art of composing an image. The skills I’ve learned will undoubtedly have a lasting impact on my photography journey. Once again, thank you for your time, expertise, and dedication. I look forward to applying everything I’ve learned and continuing to grow as a photographer, and I will be signing up for the extended “Pushing your boundaries” sessions.
Jason Moore (Award-winning Australian Wildlife Photographer)
Yours in bird photography,
