If this is your first visit, be sure to check out the FAQ by clicking the link above. You may have to register before you can post: click the register link above to proceed. To start viewing messages, select the forum that you want to visit from the selection below. |
|
|
Thread Tools | Display Modes |
#1
|
|||
|
|||
Photographing birds in flight
I've finally purchased a longer lens for my XTi - the Canon 70-300mm DO
IS ISM. Nice lens, the shorter physical length is a lot more stable in my small hands. I have been getting some very good pictures with this lens, so I'm quite happy with it, despite the high cost. I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? Pictures where the bird's not silhouetted against the sky come out better: http://www.photosig.com/go/photos/view?id=1959314 Thanks for any advice or information! jmc |
#2
|
|||
|
|||
Photographing birds in flight
jmc wrote:
I've finally purchased a longer lens for my XTi - the Canon 70-300mm DO IS ISM. Nice lens, the shorter physical length is a lot more stable in my small hands. I have been getting some very good pictures with this lens, so I'm quite happy with it, despite the high cost. I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? Pictures where the bird's not silhouetted against the sky come out better: http://www.photosig.com/go/photos/view?id=1959314 Thanks for any advice or information! jmc Set the camera to manual and expose for the shadows, always assuming your new lens has a big enough aperture to allow a fast shutter speed plus a large aperture. You can take a spot reading on virtually anything with the same or similar reflected light as the bird's feathers, even your hand. This will stop the sky from affecting your exposures. |
#3
|
|||
|
|||
Photographing birds in flight
On Apr 1, 2:28 am, jmc wrote:
I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? I usually start at +1 stop Exposuire Compensation and work from there. Shoot in RAW mode and you can usually bring the sky back to where you want it if it looks too bright. As for tracking the birds that is a bit more difficult. With small fast birds it is almost impossible unless you manually pre-focus to a certain distance. |
#4
|
|||
|
|||
Photographing birds in flight
"jmc" wrote in message ... I've finally purchased a longer lens for my XTi - the Canon 70-300mm DO IS ISM. Nice lens, the shorter physical length is a lot more stable in my small hands. I have been getting some very good pictures with this lens, so I'm quite happy with it, despite the high cost. I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. I take a lot of photos of birds in flight using my 10D and Canon 100-400 f4.5-5.6L IS USM lens. I turn off the IS and set the camera for ISO 400, Av usually at f8 but less if the light isn't sufficient for a shutter speed of 1/2000 of a second or faster (1/2500 is better), focus set for center point and AI Servo, drive mode set for continuous, metering at partial (although I often forget and leave it set on evaluative). I turn review off. Make sure the sun is at your back if possible. I always shoot in the RAW mode and can adjust dark images when using BreezeBrowser to convert the RAW image to a TIFF file. I take a lot continuous frames (up to 9 at about 3 fps with my 10D) as long as I can keep the bird in the frame. Then you take lots and lots of photos. If there are obstacles around you will find that you often take the photo as the bird goes behind the post or whatever. You will also get a lot of photos with only part of the bird in the frame or perhaps the whole bird but it is in one corner of the frame. At times the background will be in focus instead of the bird, because you didn't keep the center focus point on the bird. Keep taking more and more photos. The more you take the better you will get in following the flying bird. The smaller the bird, generally the harder it will be to photograph it in flight. Practice, practice, practice! Ron Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? Pictures where the bird's not silhouetted against the sky come out better: http://www.photosig.com/go/photos/view?id=1959314 Thanks for any advice or information! jmc |
#5
|
|||
|
|||
Photographing birds in flight
jmc wrote:
I've finally purchased a longer lens for my XTi - the Canon 70-300mm DO IS ISM. Nice lens, the shorter physical length is a lot more stable in my small hands. I have been getting some very good pictures with this lens, so I'm quite happy with it, despite the high cost. I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? You don't want to compensate; you want to meter. Put your camera in manual mode, find something to meter off, and then leave the exposure settings alone. This way, you won't have to change any settings whether you're shooting against the woods or against the gray-blue sky. You could also try spot metering, if you're sure the bird is in the center of the frame, but this will limit what you could shoot. Pictures where the bird's not silhouetted against the sky come out better: http://www.photosig.com/go/photos/view?id=1959314 Lovely. |
#6
|
|||
|
|||
Photographing birds in flight
In article , jmc
wrote: I've finally purchased a longer lens for my XTi - the Canon 70-300mm DO IS ISM. Nice lens, the shorter physical length is a lot more stable in my small hands. I have been getting some very good pictures with this lens, so I'm quite happy with it, despite the high cost. I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? Try [some combination of] this: Make sure you are in evaluative metering, using only one (usually the center) auto-focusing point, and over-expose by a stop or so using your exposure compensation. Or set to continuous shooting, set to auto-bracket by a stop or so, and shoot three-shot bursts (you have to continue to follow through with the bird even though the shutter may be blocking your viewfinder between shots). You may have to boost the ISO to bring your shutter speed back up if it becomes too slow. Also, (you probably realize this, but...) try get into a position that you can shoot the birds when the sun is at your back, so it's highlighting the birds, rather than cross- or back- lighting them. Pictures where the bird's not silhouetted against the sky come out better: http://www.photosig.com/go/photos/view?id=1959314 Thanks for any advice or information! jmc -- You need only reflect that one of the best ways to get yourself a reputation as a dangerous citizen these days is to go about repeating the very phrases which our founding fathers used in the struggle for independence. -- Charles A. Beard |
#7
|
|||
|
|||
Photographing birds in flight
Ken Lucke wrote:
In article , jmc wrote: I've finally purchased a longer lens for my XTi - the Canon 70-300mm DO IS ISM. Nice lens, the shorter physical length is a lot more stable in my small hands. I have been getting some very good pictures with this lens, so I'm quite happy with it, despite the high cost. I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? Try [some combination of] this: Make sure you are in evaluative metering, using only one (usually the center) auto-focusing point, and over-expose by a stop or so using your exposure compensation. Or set to continuous shooting, set to auto-bracket by a stop or so, and shoot three-shot bursts (you have to continue to follow through with the bird even though the shutter may be blocking your viewfinder between shots). You may have to boost the ISO to bring your shutter speed back up if it becomes too slow. Also, (you probably realize this, but...) try get into a position that you can shoot the birds when the sun is at your back, so it's highlighting the birds, rather than cross- or back- lighting them. I'll describe how I do things differently (this is my strategy; yours make work best for you). When following moving animals (birds or 4-legged critters) the mere fact they are moving often means the light is changing. Thus I do not like manual. I would rather use exposure compensation to adapt to the situation. An example is an animal moving between shade and sun, another is rising or setting sun where light levels are changing fast. Second, auto-bracketing, assuming 3 shots means only one is correctly exposed. That means you have 2/3 chance of missing the peak action. Autofocus point should be set on the animals eye(s), not necessarily the center (and in my style rarely the center) autofocus point. (Exception: f/8 on pro bodies only focuses on the center AF point, except maybe the new 1D Mark III--I hate this limitation.) Center AF often means in my experience non-ideal bull's eye composition, or poor composition requiring the center focus on the eye and cutting off feet, wings, or tail (of course this depends on how much the subject fills the frame). My strategy for action wildlife photography: AI servo mode, continuous shooting, IS on (even on a tripod, mode 1 IS). Fastest shutter speed; I usually shoot wide open, unless light is really bright, which is rare. It is rare for me as I usually shoot near sunrise or sunset when light levels are lower. I usually try and get a few frames in the environment and check the histogram so I know how the meter is responding, then I adjust exposure compensation as needed. During action, I follow the subject, constantly shifting the AF point to keep a good composition, and adjust exposure compensation as needed and keeping the AF point on the eye(s). I also keep monitoring the exposure time and adjust ISO up or down as light levels rise or fall. I use the lowest ISO that the conditions will allow. You need to know your camera well in order to do this in a split second, never removing your eye from the viewfinder while following the action. I also don't agree with the "need" to have the sun behind you. While this is a fine strategy in many situations, lighting can be more dramatic and show texture better when the sun is not directly behind you. It does become more of a challenge to keep the eyes well lit if the sun is not behind you, but I feel many images are more interesting this way. One rule I try to maintain (and you will see a common theme in my galleries): nice view of the eyes and the eyes must be in focus. The pupil of the eye should be clearly visible in the full resolution image (unless a big flock of birds that are too distant). Other guides: the photo usually has more impact if the animal is moving toward you. For birds in flight, this means the bird's near wing is behind the body center. Also, the head should be directed more toward you than away. Isolation of the subject is usually best. That means out-of-focus background, and few enough animals (like one or two). As animal count goes up, the image just looks cluttered until the animal count gets huge, like hundreds. Finally, there are exceptions to all rules. Examples: No exposure compensation needed, AF on bird's eyes, and a good example of the impact of the animal directing its vision towards the camera: http://www.clarkvision.com/galleries...8715b-700.html Dark background: needed -0.5 stop compensation: http://www.clarkvision.com/galleries...107.b-700.html No exposure compensation, sun 90 degrees away to maximize shadows: http://www.clarkvision.com/galleries...stall-600.html A good example of shooting into the sun, when you don't want the sun behind you (and you don't see the eyes): http://www.clarkvision.com/galleries...lho.c-600.html White bird on dark background: I metered the scene before the bird took off from its nest, so I was ready at meter -0.5 stop: http://www.clarkvision.com/galleries...ght.f-600.html Birds with white can be difficult if you don't want to blow the highlights. On this bald eagle, I took several exposures while it was sitting, so I knew I needed -1/3 stop for this flight shot: http://www.clarkvision.com/galleries...717.b-700.html Example of dramatic side lighting. This Palm-Nut Vulture, Vulturine Fish-eagle was photographed at sunrise. Sunrise was to the left, about 90 degrees. I should have used a fill flash, but a little work in Photoshop on with the shadow/highlight tool compressed the shadows so they are not too dark. http://www.clarkvision.com/galleries...7182b-700.html An exception to some rules: Bird's eye's not only not seen, you barely see the head, and it is moving away: http://www.clarkvision.com/galleries...336.b-600.html Another exception: high animal count, e.g. thousands; you can't see the eyes: http://www.clarkvision.com/galleries...504.b-800.html More dramatic side lighting: these kissing herons at sunset on their nest had the sun about 90 degrees away. The background is pine trees in shade, and this was the lest few seconds of light. The light was changing fast and manual mode would have missed the exposure. I knew from the previous minute's worth of images that -1 stop made a perfect exposure. As the light level fell with the setting sun, exposure compensation tracked the light perfectly, so when the male bird flew in to the nest, I was ready. Fortunately, he flew in and did the kiss in last few seconds of peak sunset light. http://www.clarkvision.com/galleries...149.f-700.html Roger |
#8
|
|||
|
|||
Photographing birds in flight
In article , change username to rnclark
wrote: Ken Lucke wrote: In article , jmc wrote: I've finally purchased a longer lens for my XTi - the Canon 70-300mm DO IS ISM. Nice lens, the shorter physical length is a lot more stable in my small hands. I have been getting some very good pictures with this lens, so I'm quite happy with it, despite the high cost. I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? Try [some combination of] this: Make sure you are in evaluative metering, using only one (usually the center) auto-focusing point, and over-expose by a stop or so using your exposure compensation. Or set to continuous shooting, set to auto-bracket by a stop or so, and shoot three-shot bursts (you have to continue to follow through with the bird even though the shutter may be blocking your viewfinder between shots). You may have to boost the ISO to bring your shutter speed back up if it becomes too slow. Also, (you probably realize this, but...) try get into a position that you can shoot the birds when the sun is at your back, so it's highlighting the birds, rather than cross- or back- lighting them. I'll describe how I do things differently (this is my strategy; yours make work best for you). First off, Roger, don't take any of my comments below as arguing with you - I agree with virtually everything you said (for someone of your skill level), I just want to clarify and perhaps justify the reasons why I said what I did. When following moving animals (birds or 4-legged critters) the mere fact they are moving often means the light is changing. Thus I do not like manual. Agree 100% here - it's too hard (at least for me) to be adjusting that AS you're tracking and panning and trying to keep up with an animal. I would rather use exposure compensation to adapt to the situation. An example is an animal moving between shade and sun, another is rising or setting sun where light levels are changing fast. Second, auto-bracketing, assuming 3 shots means only one is correctly exposed. That means you have 2/3 chance of missing the peak action. I guess that's true - unless you've got the 1D Mark III at 10fps g. I still do it myself, and I only have 3fps - so I get one chance per second, which is OK for me at this point. However, this (as were most of my suggestions) intended to help him get a feel for whaqt settings are going to work for him - then he can stick more closely to just those - with exceptions, of course. Autofocus point should be set on the animals eye(s), not necessarily the center (and in my style rarely the center) autofocus point. I was thinking of his trying learn to track and pan, that it would be easier to keep the bird centered with the center autofocus. Your skills are much higher than his (or mine) at this point, so you're good at switching autofocus points and tracking and panning all at the same time - that's definitely a learned skill, and the tracking and panning are probably the parts he should learn first, IMO. (Exception: f/8 on pro bodies only focuses on the center AF point, except maybe the new 1D Mark III--I hate this limitation.) Center AF often means in my experience non-ideal bull's eye composition, or poor composition requiring the center focus on the eye and cutting off feet, wings, or tail (of course this depends on how much the subject fills the frame). My strategy for action wildlife photography: AI servo mode, Oh, yeah, I forgot to include that in my list of things. continuous shooting, IS on (even on a tripod, mode 1 IS). Fastest shutter speed; I usually shoot wide open, unless light is really bright, which is rare. It is rare for me as I usually shoot near sunrise or sunset when light levels are lower. I usually try and get a few frames in the environment and check the histogram so I know how the meter is responding, then I adjust exposure compensation as needed. Yeah, this is critical, too. During action, I follow the subject, constantly shifting the AF point to keep a good composition, and adjust exposure compensation as needed and keeping the AF point on the eye(s). This is the hard, learned part that you've obviously got down pat, and probably should be the secondary step for him. I also keep monitoring the exposure time and adjust ISO up or down as light levels rise or fall. I use the lowest ISO that the conditions will allow. You need to know your camera well in order to do this in a split second, never removing your eye from the viewfinder while following the action. I also don't agree with the "need" to have the sun behind you. While this is a fine strategy in many situations, lighting can be more dramatic and show texture better when the sun is not directly behind you. It does become more of a challenge to keep the eyes well lit if the sun is not behind you, but I feel many images are more interesting this way. That was meant to address his "dark body against a light background" problem with the underexpsuure of the bird's body - I agree it's not a necessity, but it I thought it might help him out a little with that problem. Didn't really mean to make it sound like an absolute. One rule I try to maintain (and you will see a common theme in my galleries): nice view of the eyes and the eyes must be in focus. The pupil of the eye should be clearly visible in the full resolution image (unless a big flock of birds that are too distant). Other guides: the photo usually has more impact if the animal is moving toward you. For birds in flight, this means the bird's near wing is behind the body center. Also, the head should be directed more toward you than away. Isolation of the subject is usually best. That means out-of-focus background, Which is easy when you go with wide-open, or nearly wide open, to get the highest shutter speed possible for the ISO/light combination. and few enough animals (like one or two). As animal count goes up, the image just looks cluttered until the animal count gets huge, like hundreds. Even then, I love the images where the camera is zoomed in on one animal in a packed herd of hundreds or thousands, with one animal picked out and the rest of the bodies pressed around it. Zebras epecially look good this way - maybe some day I'll get to go shoot one of those images myself. Finally, there are exceptions to all rules. Examples: snip of huge number of envy-inducing images Roger, your pictures always make my efforts seem so lame. :^( -- You need only reflect that one of the best ways to get yourself a reputation as a dangerous citizen these days is to go about repeating the very phrases which our founding fathers used in the struggle for independence. -- Charles A. Beard |
#9
|
|||
|
|||
Photographing birds in flight
Suddenly, without warning, Roger N. Clark (change username to rnclark)
exclaimed (03-Apr-07 1:42 PM): Ken Lucke wrote: In article , jmc wrote: I've finally purchased a longer lens for my XTi - the Canon 70-300mm DO IS ISM. Nice lens, the shorter physical length is a lot more stable in my small hands. I have been getting some very good pictures with this lens, so I'm quite happy with it, despite the high cost. I've been practicing taking pictures of birds in flight - raptors, for the most part. Not surprisingly, all of the ones taken with the sky as background, came out with very dark birds. Also, for non-soaring birds, I'm finding it very hard to follow them, and get decent pictures. Is there a tutorial on the 'net somewheres that'll help me learn how to take better bird action photos? How much do I compensate when the bird is silhouetted against the sky? Try [some combination of] this: Make sure you are in evaluative metering, using only one (usually the center) auto-focusing point, and over-expose by a stop or so using your exposure compensation. Or set to continuous shooting, set to auto-bracket by a stop or so, and shoot three-shot bursts (you have to continue to follow through with the bird even though the shutter may be blocking your viewfinder between shots). You may have to boost the ISO to bring your shutter speed back up if it becomes too slow. Also, (you probably realize this, but...) try get into a position that you can shoot the birds when the sun is at your back, so it's highlighting the birds, rather than cross- or back- lighting them. I'll describe how I do things differently (this is my strategy; yours make work best for you). When following moving animals (birds or 4-legged critters) the mere fact they are moving often means the light is changing. Thus I do not like manual. I would rather use exposure compensation to adapt to the situation. An example is an animal moving between shade and sun, another is rising or setting sun where light levels are changing fast. Second, auto-bracketing, assuming 3 shots means only one is correctly exposed. That means you have 2/3 chance of missing the peak action. Autofocus point should be set on the animals eye(s), not necessarily the center (and in my style rarely the center) autofocus point. (Exception: f/8 on pro bodies only focuses on the center AF point, except maybe the new 1D Mark III--I hate this limitation.) Center AF often means in my experience non-ideal bull's eye composition, or poor composition requiring the center focus on the eye and cutting off feet, wings, or tail (of course this depends on how much the subject fills the frame). My strategy for action wildlife photography: AI servo mode, continuous shooting, IS on (even on a tripod, mode 1 IS). Fastest shutter speed; I usually shoot wide open, unless light is really bright, which is rare. It is rare for me as I usually shoot near sunrise or sunset when light levels are lower. I usually try and get a few frames in the environment and check the histogram so I know how the meter is responding, then I adjust exposure compensation as needed. During action, I follow the subject, constantly shifting the AF point to keep a good composition, and adjust exposure compensation as needed and keeping the AF point on the eye(s). I also keep monitoring the exposure time and adjust ISO up or down as light levels rise or fall. I use the lowest ISO that the conditions will allow. You need to know your camera well in order to do this in a split second, never removing your eye from the viewfinder while following the action. I also don't agree with the "need" to have the sun behind you. While this is a fine strategy in many situations, lighting can be more dramatic and show texture better when the sun is not directly behind you. It does become more of a challenge to keep the eyes well lit if the sun is not behind you, but I feel many images are more interesting this way. One rule I try to maintain (and you will see a common theme in my galleries): nice view of the eyes and the eyes must be in focus. The pupil of the eye should be clearly visible in the full resolution image (unless a big flock of birds that are too distant). Other guides: the photo usually has more impact if the animal is moving toward you. For birds in flight, this means the bird's near wing is behind the body center. Also, the head should be directed more toward you than away. Isolation of the subject is usually best. That means out-of-focus background, and few enough animals (like one or two). As animal count goes up, the image just looks cluttered until the animal count gets huge, like hundreds. Finally, there are exceptions to all rules. Examples: No exposure compensation needed, AF on bird's eyes, and a good example of the impact of the animal directing its vision towards the camera: http://www.clarkvision.com/galleries...8715b-700.html Dark background: needed -0.5 stop compensation: http://www.clarkvision.com/galleries...107.b-700.html No exposure compensation, sun 90 degrees away to maximize shadows: http://www.clarkvision.com/galleries...stall-600.html A good example of shooting into the sun, when you don't want the sun behind you (and you don't see the eyes): http://www.clarkvision.com/galleries...lho.c-600.html White bird on dark background: I metered the scene before the bird took off from its nest, so I was ready at meter -0.5 stop: http://www.clarkvision.com/galleries...ght.f-600.html Birds with white can be difficult if you don't want to blow the highlights. On this bald eagle, I took several exposures while it was sitting, so I knew I needed -1/3 stop for this flight shot: http://www.clarkvision.com/galleries...717.b-700.html Example of dramatic side lighting. This Palm-Nut Vulture, Vulturine Fish-eagle was photographed at sunrise. Sunrise was to the left, about 90 degrees. I should have used a fill flash, but a little work in Photoshop on with the shadow/highlight tool compressed the shadows so they are not too dark. http://www.clarkvision.com/galleries...7182b-700.html An exception to some rules: Bird's eye's not only not seen, you barely see the head, and it is moving away: http://www.clarkvision.com/galleries...336.b-600.html Another exception: high animal count, e.g. thousands; you can't see the eyes: http://www.clarkvision.com/galleries...504.b-800.html More dramatic side lighting: these kissing herons at sunset on their nest had the sun about 90 degrees away. The background is pine trees in shade, and this was the lest few seconds of light. The light was changing fast and manual mode would have missed the exposure. I knew from the previous minute's worth of images that -1 stop made a perfect exposure. As the light level fell with the setting sun, exposure compensation tracked the light perfectly, so when the male bird flew in to the nest, I was ready. Fortunately, he flew in and did the kiss in last few seconds of peak sunset light. http://www.clarkvision.com/galleries...149.f-700.html Roger I should snip this, but everything is such great advice, and Roger, your pictures are just absolutely awesome! I think your style for the most part might work better for me, 'cept the shifting autofocus bit. I'm still learning my camera, and definitely can't manage that without looking. So I've been using the center autofocus. Good point about the eyes, but for now that's a bit beyond my skill with moving animals, I'm happy if I can just keep the birdie in the frame. Thanks to both of you - I have a couple of methods I can experiment with now, to see which works best for me. Guess I'm going to need bigger CF cards if I'm going to use continuous shooting. Filled up my 2GB pretty fast trying to photograph raptors... Roger, thanks again for the examples - it's so much better to actually *see* what you are talking about, and how your techniques relate directly to photographic results. ::sigh:: I gotta lot to learn... jmc |
#10
|
|||
|
|||
Photographing birds in flight
In article , jmc
wrote: snip ::sigh:: I gotta lot to learn... jmc Don't we all... (it never ends) g But that's part of the fun of it. -- You need only reflect that one of the best ways to get yourself a reputation as a dangerous citizen these days is to go about repeating the very phrases which our founding fathers used in the struggle for independence. -- Charles A. Beard |
Thread Tools | |
Display Modes | |
|
|
Similar Threads | ||||
Thread | Thread Starter | Forum | Replies | Last Post |
Flash usage with birds in flight | rugbyphoto | Digital Photography | 0 | April 10th 06 09:12 PM |
Advice Needed - Photographing Birds in Flight | Cockpit Colin | Digital SLR Cameras | 8 | October 4th 05 01:36 AM |
Photographing birds with a remotely controlled digital camera? | Dean Keaton | Digital Photography | 7 | February 15th 05 01:44 PM |
Photographing birds with a remotely controlled digital camera? | Dean Keaton | Photographing Nature | 7 | February 15th 05 01:44 PM |
Photographing birds with a remotely controlled digital camera? | Dean Keaton | Digital SLR Cameras | 10 | February 15th 05 01:44 PM |