In early February, we had a pair of bluebirds come to our feeders. Bluebirds generally eat insects and there are not many around this time of year. They watched the other birds eating and gave it a try. It was amusing to watch a bluebird pick up a piece of bread and try to get it past its beak. One beat it against a branch until it was long and round then ate it. Over the next several weeks the number of bluebirds grew to four pairs. They would only visit on days that were cold; up to five of them on the suet feeder at a time. In the past, such visits by bluebirds in the winter were brief, only a day or two. This year they visited for more than four weeks. All the images in this post were captured in February 2023, with the exception of the two images of Robins which were made in December 2022.

My initial photographs were through the kitchen and lavette windows with the target areas being the bird feeders and birdbath. Once it was clear that they would be staying a while, I set up two light stands with natural perches attached to them with plastic straps. To increase my chances of getting the birds to use the perches, I strategically placed them between one of their favorite spots and another. One perch is between the bird bath and the suet feeder, and the other is between the suet and the tray feeder.  At some times of the day there could be 20-30 birds visiting the feeders and the perches provide some convenient places to wait for a spot on a  feeder to open.

I choose the perches to have a vertical and horizontal branch to provide variety. If you intend to photograph  over many days, it makes sense to change the perches every so often and even change the position so that you have an assortment of images with a variety of branches and backgrounds.

The perches are about ten feet from the windows and placed to have a distant background. All the photographs in this post are captured with a handheld Olympus O-MD E-M1 Mark III camera body with the Olympus M.Zuiko 300mm f/4 PRO lens, mostly at f/4 and shutter speeds as slow as 1/15 sec. Because of the small sensor size of the Olympus camera, the 300mm lens has a field of view equivalent to a 600mm lens on a camera with a full size sensor. I photographed through the double pane window glass; although it did take some experimentation to discover which window sections offered good results. When the weather is warmer, I will also shoot with the lavette window open, ensuring that the door is closed should a bird investigate the open cavity.

When photographing through a window it is important to be aware of two optical effects: distortion through the glass and reflections on the glass. Check for distortion by shooting through various parts of the window at a bird feeder or the perch and review the images with magnification to ensure detail is preserved. Reflections will most likely be caused by brightly lit objects in the room or from the windows across the room. By positioning the camera lens perpendicular to the glass you may solve both problems as I have found less distortion when shooting straight through the glass. Getting close to the glass also blocks reflections. If you have storm windows, you may want to open the lower section to reduce the amount of glass between your camera and the subject.

Photographing birds from a window in your house can very productive, and especially so in winter when the birds’ need to eat is necessary for their survival. They are acclimated to people being the window watching as they visit the feeders and ignore anyone standing there for the most part.

Make your plans now to take advantage of the springtime migration bringing new birds to backyard feeders, all hungry as they need the energy to build new feathers and to fly on to their summer areas.

I was walking around in my yard which I left mostly wooded, and found a newly emergent pine tree with the seed pod still attached to the end of the pine needles. I set up and was rewarded with a nicely backlit pine tree, but with half the background in bright sun.  What to do! I knew I would try to use Highlights and Shadows controls to brighten the shady area and knock back the bright area, as can be seen in the second photo. It is an acceptable result, but if I were done taking photographs, this post would be over also.

While maximizing the highlight and shadow adjustments of Lightroom results in an acceptable image, I know that I can do better, or at least different. And I better do it while I have a cooperative subject.

My approach here is to provide shade for the entire scene by placing my body between the sun and the subject. To accomplish this I need a couple of tools that I happen to carry with me whenever looking for small objects to photograph. First, the camera is placed on a stable platform such as a tripod or the Platypod if I’m getting very low to the ground, to keep the camera framed properly. Second, I control the camera using a remote control to trigger the capture. Although this can be a wired remote I prefer using a wireless remote because of the flexibility it provides. I’m no longer limited by the length of the cord plus the length of my arm. And third, I take advantage of the articulating screen on my camera body to be able to observe the scene I have framed in my camera, while I am maneuvering my body to block the sun. This ensures I properly position myself for the desired results.

By watching the monitor that I have flipped around to be facing me as I block the sun, I am able trigger the capture with the wireless remote when I am certain I am in the correct position. In the second image above, you can see the pine tree seedling in the green circle, the receiver of the wireless remote is on the ground to the right of the camera. To the left of the camera is a Litra Torch LED light on a Platypod Ultra, spigot adapter and small ball head. Before turning on the light, I made a few captures for comparison. The resulting image (below, left) has a nice even light to it, But the upper right quarter seems a little brighter than the rest of the scene. I feel my eye is being pulled from the seeding and to the upper right, but there is nothing significant there.

I dropped the overall exposure by about 2/3 stop and used the LED light to help separate the seedling from the dark background. It also brought out the texture of the seed and in the stem.

I used my body as a sun block and a remote control to trigger the capture in these two examples. For the Spotted Wintergreen I stood to the left of the plant while making the exposure.

For the red fungus growing on the side of the tree stump, the offending sunlit spot is to the far right of the subject. I set up the camera with the screen flipped around so that I could see it, stood behind the stump and held my hat in the path of the sunlight so that I cast a shadow in the correct location. In this case I also added a Litra Torch to the left side of the stump to light the underparts of the fungus.

Every few days I’d go out and photograph one or two specimens as new growths appeared.

I started researching the identification of the species I photographed, but it is slow going. Rather than wait to share these images, I am posting them without further detail, although I intend to add information as I can find it.

Most of the images use flash or LED light to provide adequate light in the deep shadow on the forest floor. I usually photograph each subject with both single capture and multiple focus stacking images. Focus stacking allows the merging of the sharp portions of a capture into a single image. This results in backgrounds to be presented in softer, out of focus rendition. I also capture the subjects using different techniques with the intent of using the images as illustrations in presentations and posts.

Enjoy the images.

This spring was a spectacular year for the lady slippers in my backyard.  There was one cluster of 20 flowers, with smaller plants of one to three flowers nearby.  The flowers are located on the edge of the forest, next to a pile of cut logs with a rack of firewood behind it.  Natural lighting can be difficult to deal with as the sun is low on the horizon sending shafts of light through the foliage of the trees.  Occasionally overcast skies provided flat light that reduces or eliminates harsh shadows on the flowers. It was an opportunity to try several techniques capturing these beautiful flowers, and I went out early each morning while the air was cool and still.  Once the sun starts warming the ground, air currents are created and even the slightest breeze results in significant movement in these large flowers on long stems.  I often used a 160 LED lamp to illuminate a single flower. Most images are captured with a Sigma 150mm lens on a Canon 5D Mark II.  I used tripod or beanbag for support and a wireless remote shutter release to avoid any movement during exposure. In addition to single captures of the scene, I made many captures with focus stacking in mind as well sets of images (a series of the same image at all f-stops) for use in teaching programs.  I also made a few images using a 50mm f/1.8 on the Canon 7D.

The first set of images were made by selectively focusing on different parts of the flower, then merging them into one image file using Helicon Focus stacking software.  Last year I had done quite a lot of image taking and analysis in an attempt to understand where focus stacking works and where it doesn’t. The extensive blog posts totaled 30 pages.  Helicon Focus recently had an update and added a new stacking algorithm which I used on a trial basis.  I was satisfied that it performed well on these image and purchased a one-year license ($30) for the Helicon Focus Lite.  I plan to reprocess the images sets I took last year to see if the new algorithm solve some of the problems I described in my posts last year.

The reason for using  a stacking program is to benefit from an extended depth of field at the subject while shooting at a large aperture to retain the soft out-of-focus (OOF) background.  The images are labeled as a single exposure or number of images stacked, and the f-stop used.

To better see the effect of aperture on depth of field, images of a scene were captured at a various f-stops, and one image was constructed of several captures stacked together. The higher the f-stop (smaller aperture), the greater the definition in the background structure.  As the aperture is opened, the depth of field lessens and the background becomes a pleasant, soft blur. Unfortunately, the wide aperture doesn’t capture much of the flower in sharp detail, which is where focus stacking can be of benefit.  Care must be taken in capturing images for focus stacking to ensure sufficient overlap in the regions of sharpness.  The technique doesn’t always work cleanly, and in some cases there are artifacts that require a lot of editing to correct, if they can be corrected at all.

After several weeks of photographing, I haven’t been able to catch the male’s gorget fully lit up.  Most captures that are a side view of the male results in dark, almost black gorget feathers.  There always seems to be a dark patch of red gorget that never lights up.  It’s very difficult to catch the throat lit up, and only seems to happen if the bird is facing the camera, but even then, there’s a patch in the center that doesn’t fully light up.   I’ll have to experiment more with light placement to see if I can get better results.  Up to now the two front lights have been to either side of the flower.  Perhaps I need to place one below and directly in front of the bird.  In the past, I’ve used a camera mounted flash with a BetterBeamer to trigger the other flashes.  That may provide enough direct light, if lack of direct front light is the cause of the dark feathers. 

I’ve been using the Canon 7D with the 500mm f4 Is lens since the birds were very wary of me being nearby.  Now they are more comfortable with me there and I’ve been using the 100-400 zoom lens. .  I can’t rotate my camera for vertical compositions because the built in flash controller of the 7D will not see all the remote flashes if I do so. So I’ve been taking images with less zoom with the intent of cropping for vertical presentation.  The portrait images were taken this way.

There are not many more days to photograph hummingbirds; the males will leave soon and the females a couple of weeks later. 

 Assassin bugs get their name from the way they attack their victims, inflicting sharp stabs with their beak.  Their front most legs have powerful muscles to grab and hold their prey while the body fluids are sucked out. The bug pounces on bees and other pollinating insects. After grabbing the prey, the insect thrusts its cutting beak in to the victim’s back, injects an immobilizing digestive agent, then sucks out the body juices.

 For these images I used a Canon 40D camera with a Sigma 150mm macro lens and a Canon MT-24EX twin light.

 When young, the poults would occasionally hide under the mother’s belly for warmth or protection.  You can see a couple of sets of small legs.  There are five poults under the mother.

The colors on their heads changes dramatically when they are displaying, with vivid blues, a whte cap on top of their head, and bright red neck. the colors in their feathers are spectacular in the morning light.  The male puffs up its feathers, spreads his tail and extends his wings down to the ground.  He also angles his tail so that it shows in the direction of the females (or to potential rivals) to show how big and flashy he is.

The images in this post were taken with my new Sigma 150mm F2.8 macro lens