Last summer Deb and I enjoyed a day on Bonaventure Island, four kilometres off the tip of the Gaspé Peninsula near the quaint little town of Percé, Quebec. The purpose of the trip to Bonaventure Island was to photograph the Northern Gannet, a large pelagic bird that for years has made Bonaventure Island the largest nesting site in the world for Gannets. With just over 52,000 nests (2012) among five colonies on the island, there are approximately 150,000 gannets on Bonaventure Island from mid-June to mid-September each year. This was actually the second summer that we travelled to Percé hoping to photograph the Gannets. On our first trip we were met with three days of high winds and heavy rains that created seas so rough that the boats could not leave the harbour for the short trip to Bonaventure Island. We were thankful to have perfect conditions on our second annual attempt!
The land masses of Bonaventure Island and Percé Rock were amalgamated in 1985 to become The Bonaventure Island and Percé Rock National Park. The island is also designated as a Migratory Bird Sanctuary. Access to Bonaventure Island is via ferry from the main dock in Percé, which is one of the most beautiful spots in Eastern Canada offering spectacular views of Percé Rock and Bonaventure Island. If you arrive early enough in the morning, you can purchase a $20 ticket to join the first ferry of the day which transports park staff to the island. It is a direct, 20 minute trip providing first access to the island and the 2km hike across the island to reach the Gannet colonies on the far side of the island. The regular ferry is $35 and takes an hour however you travel around Percé Rock and the far side of Bonaventure Island allowing you to see the Gannet colonies on the 300′ cliffs of the island. Deb and I were the only photographers on the staff ferry so the lead time allowed us to enjoy about 90 minutes alone at the Gannet colonies before the tourists and other photographers arrived.
Having the whole day set aside to spend on Bonaventure Island enabled us to plan for many different types of shots including some video. Although we probably took too much gear with us, we used it all and were thankful we made the effort to lug it across the island. Our gear for the day included a Kata backpack filled with a Canon 5D Mk III plus 16-35mm, 24-105mm and 100-400mm lenses as well as a Fuji X-E2 body, 8mm fisheye and 18-55mm lenses. Attached to the backpack was a Gitzo traveller tripod with Markins ball head. Balanced on my shoulder was a Canon 1Dx and 500mm telephoto lens attached to a Jobu carbon fibre monopod and gimbal head. It took about 45 minutes via the shortest trail to reach the Gannet colonies. It was a great hike on a well travelled path cutting directly across the island starting at sea level and rising to about 300′ over the 2km walk.
The hike is mostly in heavy forest and as we approached the far side of the island the scents and sounds of the Gannets greeted us long before the actual birds did. Both the smell and the sound were like nothing Deb & I had experienced before however we quickly acclimatized to both!
The Northern Gannet’s behaviour is quite paradoxical and some of these ironies will be highlighted throughout this post. I think this great pelagic bird is best summed up by Lucie Lagueux, a world renowned expert on the Gannet, who states “What surprises me most about the gannet is its overwhelming ambivalence. Although it is a sea bird, perfectly adapted to life in a marine environment, it spends more than six months on dry land. While its anatomy and behaviour make it eminently suited to cliff-nesting, it does not seem to be able to resist the temptation of the plateau. The gannet is a territorial bird, yet it lives in a very dense colony. It is an aggressive bird, yet its aggressiveness has but one goal: to ensure proximity to other gannets. Finally it is a very predictable bird – in most cases, the gannet’s reaction to a given situation can be easily anticipated. Yet sometimes it exhibits behaviour which is quite inexplicable”. This perfectly describes our observations of the Gannets during the time we spent with them.
When arriving at the colonies for the first time one is astounded by the sheer number of birds. It is difficult to appreciate what 100,000+ birds looks, sounds and smell like and although these images won’t do any of them justice, perhaps this video will help!
The density of the colony is shown below and its remarkable that Gannets returning from fishing excursions can find the exact location of their nest, however they always do. To put the density into perspective, the typical nesting site is 75 cm in diameter and adjacent nesting sites measure 80 cm centre to centre. Nest density is 2.3 nests per square metre.
Finding the right nest is a challenge for the Gannet and you can in this next image the reception that the landing Gannet receives from its neighbours.
The Northern Gannet is a large pelagic bird weighing on average 3.2 kg with a wing span of 1.8m. Gannets have average lifespans of twenty years however have been known to live for as long as forty. It is a beautiful bird, especially in breeding plumage when the head and crown take on a warm golden hue and the feet are accented with bold green lines.
Gannets are also beautiful in flight and their large wing span and thin wings make them excellent gliders. The white underside of the gannet also provides them great camouflage while hunting.
Nests are manicured mounds on the ground that are very sparse yet well defined as seen below. The highly territorial Gannet defends the nest fiercely even though they are very close to their neighbours.
The female Gannet easily lays a single egg as egg size is small compared to the size of the adult bird. Incubation lasts approximately 43 days during which the egg is surrounded by the webbed feet of the parent who’s increased blood flow to the feet keeps the egg warm.
Parents take turns between guarding their chick and fishing to provide food for the newest family member. They transfer partially digested fish to the young bird and it grows rapidly for the 75 days before it fledges.
Young birds remain on the nest until they fledge. As they expend little energy while confined to the nest and are continually being fed they actually grow to become larger and heavier than their parents. In fact they weigh almost 1 kg more than the adults when they leave the nest at 10-12 weeks of age. When they fledge they leave the nest and their parents for good and are on their own from that day until they mate at five years of age (younger birds will return to a colony at the age of two or three, but remain at the periphery of the colony and do not pair up or nest until age five). It is quite humorous to see a large young Gannet with its significantly smaller parents just before fledging.
New born Gannets can not be left unattended by its parents as neighbouring Gannets will attack them and should a young bird move off the nest it will surely be destroyed. This is one reason, the first year mortality rate of Gannets is over 60%. This next image shows the fate of a young bird that has inadvertently moved off its nest while its parent vainly tries to come to the rescue. You can see the remains of another chick in the foreground….a poignant visual display of life and death on a Gannet colony. When Gannets lose an egg or young chick they will often lay a second egg and have a second brood during the breeding season. For this reason you can concurrently observe chicks of all different sizes and stages of development within the colony.
Gannet behaviour is unique and fascinating to observe. The high density of birds in the colony make communication a survival necessity and the Gannets do so through tactile, visual and auditory channels. Gannet behavioural displays provide interesting photo opportunities for the bird photographer. I would highly recommend before travelling to Bonaventure Island that you take time to study Northern Gannets and familiarize yourself with their behaviour. This will allow you to better recognize what is unfolding in the colony and help you compose and capture the signature Gannet behaviours.
Fencing is perhaps the most easily recognized behaviour and is an important mating ritual. Gannet pairs extend their necks with beaks pointed skyward and delicately touch their bills together in a fencing motion. This activity always takes place at the nesting site. Fencing provides an excellent opportunity for that classic Gannet shot as shown in these next images.
To capture fencing effectively, a low angle is required to separate the Gannets from the other birds and also create a clear back ground to enhance the photographic result.
Yes, that means lying down in order to ‘get the shot’, but it’s always worth that extra effort!
You can see and sense the affection these birds share with each other, which as monogamous couples they do for life.
Although this next image lacks any eye contact (a bird photographer’s no no) it has become a favourite of mine with its artistic feel.
Mutual preening is another important mating ritual. The Gannet pair caresses and smooths the other’s feathers, typically around the head and neck.
They will preen each other for extended periods of time.
Unfortunately, fighting is common amongst Gannets, sometimes between pairs and more often with other Gannets that venture too close to a neighbouring nest. When fighting the birds anchor their claws into the ground and extend their necks to fight with their beaks. It often appears that they are attempting to jab the opponent’s eyes.
Threat-gaping, menacing and jabbing are related behaviours usually between Gannets on adjacent nests, where from a sitting position the birds jab towards each other while making lots of noise. There is generally no contact between the birds.
The last behaviour we will look at is called sky pointing and is thought to signal to a mate that the pointing partner is going to leave and the other is to stay and guard the nest. It is also performed by any Gannet in the colony who is about to take flight. When sky pointing, the neck is extended and bill pointed skyward, the wings are drawn back and the feet are prominently displayed with their bright green lines on black webbing.
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The Gannets of Bonaventure Island feed primarily on Mackerel, Herring and Capelin and they consume lots of them. It is estimated that each bird consumes 500 g of fish daily and that the annual fish consumption of the Bonaventure colony is 3,100 tons or 6.2 million pounds. It is fascinating to watch Gannets fish as they always do so in groups. Look-out birds scout the ocean for schools of fish and once found they must signal the others as large groups of Gannets quickly congregate overhead and then with pin point accuracy dive into the school of fish from impressive heights and at great speed. This style of group diving, sometimes described as hailstorm fishing causes panic and disorientation within the school of fish and it is thought that this greatly improves the Gannet’s success rate compared to fishing alone.
The following images show the classic diving sequence of the Northern Gannet. These images were taken from the pier in the town of Percé which is where the ferries leave for Bonaventure Island. The waters between Percé and Bonaventure are sheltered and thus are a prime fishing location for the Gannets.
A Gannet cruising high above the water spots a target, puts the brakes on and prepares to begin its dive.
The dive begins with Bonaventure Island looming in the back ground
Gannets begin their dives approximately 100′ above the water and use their outstretched wings to steer them directly towards the target.
The wings remain fully extended until just before impact.
As they are about to enter the water they begin to quickly draw back their wings.
At the time of impact the wings are drawn fully back and neck is extended and the Gannet looks more like a torpedo that the very large pelagic bird it is.
The speed of the Gannet at impact with the water is 100 km/h and even at that speed, the large size and buoyancy of the bird only allows it to reach depths of five or six feet. They catch their prey while returning to the surface.
As we conclude this post I will leave you with some portraits and in flight images of the Northern Gannet. I trust these help give you an appreciation for this great bird of Bonaventure Island.
When given the opportunity, attempt to photograph birds against different back grounds which greatly influences the photographic results. The photo above has the sky as the background while the image below uses the water.
A unique pose with both eyes visible. Not a common occurrence in bird photography.
The long and slender wings of the Gannet make it ideally designed for gliding and riding the thermals that move up the cliffs on which they nest. This also allows the large and heavy Gannet to cover large distances with minimal effort.
A Gannet slowing down after spotting its nest location.
Capturing two birds in flight in the same frame with both in focus is a difficult challenge but the perseverance required paid off….eventually!
They truly are a photogenic species.
A Gannet cruising low over the colony before heading out to fish.
An in flight acrobat, slowing down and looking for the nest.
An affectionate couple guarding their nest.
Gannets normally dwell on cliffs but when there is no real estate left on the cliffs they occupy the plateaus atop the cliffs. They quickly denude the plateaus of vegetation and don’t often stray into grassy areas except to gather nesting material, or to offer the gift of grass to a potential partner, as an offer to build a nest together. It was a treat to find this Gannet with grass in its beak.
Apparently the object of his desire wasn’t overly interested in his kind offer!
The maestro pose against a natural gradient background.
And a final tight portrait of the Northern Gannet with its steel eye and intense blue eye ring.
Deb and I have had the opportunity to visit Percé and Bonaventure Island each of the past two summers to photograph Northern Gannets. We both highly recommend that you make the effort to travel to the Gaspé Peninsula of Quebec, not only to see the Gannets but to explore this very unique and beautiful part of our great country. You won’t be disappointed. If you want any Gaspé travel tips don’t hesitate to contact me as I’d be glad to help!
Our last blog post chronicled the Atlantic Puffins that make Machias Seal Island their home for a few weeks every year to nest and produce the next generation of Puffins. That post also included Arctic Terns that successfully bred on the small island in the mouth of the Bay of Fundy for the first time in many years. If you missed reading the blog you can find it here.
Two other pelagic (ocean faring) species that also nest on Machias Seal Island are the Common Murre and the Razorbill. Both of whom happily share the same nesting areas along with the Atlantic Puffins and they all seem to get along rather famously. It was not uncommon to see all three birds occupying a perch on the same boulder.
The Common Murre is a member of the Auk family of birds and is larger than the Puffin, averaging about 18″ in length with a wingspan just over two feet. They are quick but not very agile in the air reaching speeds of up to 50 mph. Murres actually prefer diving to flying and they have been recorded at depths of almost 600 feet. They generally stay submerged for one minute but can double that if necessary. Murres are pursuit divers and cover approximately 100′ of range with every dive, using their wings to propel themselves as they chase their prey.
The Common Murre pictured below is referred to as a bridled Murre because of its white eye ring that forms a posteriorly trending eyeline. This unusual feature is found among Murres that breed in the Northern Atlantic regions.
Not as agile in the air as the Puffin however they are quick and will travel long distances in search for food.
The Razorbill is another bird from the Auk family and is actually the closest living relative to the now extinct Great Auk. Razorbills are pelagic birds and like Puffins and Common Murres, are monogamous colonial breeders that only come to land once each year to lay one egg that is equally incubated by both parents for approximately one month. Razorbills are about the same size as Common Murres and larger than the Atlantic Puffin as can be seen in the image below.
Razorbills have thick blunt bills that set them apart from Common Murres who otherwise appear quite similar although the Razorbill’s head is a darker shade of black. With black eyes and the absence of an eye ring, it was extremely difficult to visualize the eyes of the Razorbill when photographing them. This next image is my favourite as the bird landed on a boulder that allowed a nice low angle from the blind we were in while on Machias Seal Island.
Razorbill numbers are trending lower over recent years and they are now listed as ‘Near Threatened’.
A Razorbill showing off and demonstrating its larger size compared to the Puffin in the foreground.
The average lifespan of the Razorbill is 13 years however one banded bird in the United Kingdom has lived for more than 41 years which is an amazing record. I like this environmental in flight shot of the Razorbill with the classic rocky shoreline the Razorbills colonize every year during breeding season in the background.
It may be just me but the Razorbill seems to enjoy wings that are proportionately longer than the Common Murre and Atlantic Puffin giving a more graceful appearance in flight.
Razorbills have the longest tail feathers of the Auks which extend past the feet in flight. You can see this clearly when comparing the image below with the Common Murre in flight image shown previously.
All the images in this post were taken with either a Canon 1Dx with 100-400 L IS II lens or a Canon 5D Mk III with 500 f4 L IS lens, hand held from a blind.
I trust you have enjoyed this brief post highlighting the Common Murre and Razorbill, that colonize Machias Seal Island in June and July each year along with the Atlantic Puffin. If you have never seen these birds I would highly recommend you plan your next vacation through the fabulous Canadian Maritime provinces and set aside a few days within your vacation for an excursion to Grand Manan and Machias Seal Islands. You won’t be disappointed.
This past summer Deb & I ticked an item off the bucket list by travelling to Machias Seal Island to observe and photograph some of the 5,000 pairs of Atlantic Puffins that return to the island every summer to nest. While on the island we also had the privilege of seeing Arctic Terns, Common Murres and Razorbills.
Machias Seal Island is a small island located in the Lower Bay of Fundy about 12 miles south west of Grand Manan Island, New Brunswick and 10 miles south east of Cutler Maine. Access to the island during nesting season is restricted to fifteen people at a time who are allowed on the island for a two hour period, most of which is spent in one of four blinds to which you are escorted by the lighthouse keeper who is the only resident of the island. There has been a Canadian lighthouse keeper on the island almost continually since the first lighthouse was built in 1832.
Only two charter companies have permission to deliver people to Machias Seal Island. Bold Coast Charter Company departs from Cutler Maine and Sea Watch Tours, with whom Deb & I went with, operates from Seal Cove on Grand Manan Island in the Canadian province of New Brunswick.
Grand Manan Island by itself is a destination location for anyone wishing to experience maritime life and cuisine at its finest. Deb & I stayed for a couple of nights at The Inn at Whale Cove Cottages and it was the perfect spot.
Arriving at the Sea Watch Tours dock in Seal Cove we met Captain Peter Wilcox, who owns Sea Watch Tours, and his First Mate Durlan Ingersoll.
Our boat, The Day’s Catch, is a lobster fishing boat that Captain Wilcox converts for taking bird watchers and photographers to Machias Seal Island during the Puffin nesting season in July. As there are only minimal landing facilities on Machias Seal Island, the Day’s Catch tows a small tender, The Little Catch, which shuttles people from the big boat to the rocky shore of the island. Below are our rides for the day, the Day’s Catch and the Little Catch.
Due to rough seas and primitive docking facilities successful landing on the island occurs about 60% of the time so although it was very foggy we were thrilled to be able to set foot on the island. Here is Deb with the Little Catch in tow behind her.
The Day’s Catch, although spending most of its time fishing for lobster, became the perfect boat for the ninety minute trip to Machias Seal Island from Grand Manan, with plenty of room for the 15 passengers on board as seen by these next two images taken with the Fuji X-E2 and 8mm Samyang fisheye lens.
If you have never used a fisheye lens I would highly recommend getting one. They have surprising versatility and the unique perspective they provide often results in compelling images.
After the fifteen excited birders and photographers were successfully shuttled from The Day’s Catch to the shore we were escorted by the lighthouse keeper to a staging area where the practices and procedures were explained to us. This video follows our brief walk to the lighthouse and you will see and hear some birds flying overhead.
If you looked closely at the video you will have noticed the birds are not Puffins but surprisingly were Arctic Terns. These birds from the north had successfully nested in the lighthouse keepers vegetable garden….the first time Arctic Terns had done so in quite a while. Here is a young Arctic Tern and one of its parents sleeping in the garden. A rare sight.
It was a pleasure to capture two adults in an overhead aerial display. They are beautiful birds, not often observed at such close range. Always have your camera at the ready!
The next video shows one of the four blinds on the island and gives you an idea of how many Puffins are in the area and also how vocal they are. Notice the very small size of the ports in the blinds, barely large enough for a big lens to peek through, but necessarily small so our human forms would not be visible to the Puffins and provide the opportunity for them to become acclimated to us. Care was taken to only open the camera ports on one side of the blind at a time to prevent creation of sight lines enabling the Puffins to see through the blinds which could result in them flying into the blinds as opposed to perching on the roof as seen in the video!
Great care is taken by those governing the island to ensure that human impact on the Puffins is kept to an absolute minimum, which is good practice at all times when interacting with animals in the wild.
It’s not my normal practice to shoot from a blind, so it was difficult to know what gear to select for that critical hour during which I didn’t want to waste any time with the wrong lens combinations. After much thought it was decided to take three bodies; a Canon 5D MkIII with a 500mm lens for portraits (plus a 1.4 x TC for an effective 700mm if needed), a Canon 1Dx with the new 100-400mm zoom lens for capturing Puffins in flight and a Fuji X-E2 with a 55-200mm Fujinon zoom that Deb used for stills and video. The blind was too small for a tripod so we opted to bring a monopod however it proved impractical when shooting through such a small opening in the blind. This means that we spent the hour standing in the blind hand holding some pretty heavy equipment although it wasn’t that bad as the time raced by while we concentrated on getting that ‘perfect’ image (which has yet to happen after decades of trying). We utilized the first twenty minutes taking portraits and perched shots and the remaining time was devoted to my favourite photography niche, capturing birds in flight.
Puffins are sometime referred to as the parrots of the sea because of their appearance and affable character. They have a rather mischievous look even when they are resting which I think is captured in this first image.
Photographing black and white birds is technically challenging as it is difficult to find an exposure that retains detail in both the black and white feathers. Typically if you expose for detail in the blacks you overexpose the whites and if you expose for the whites you underexpose the blacks, both of which result in unacceptable results. Getting acceptable exposures in strong sunny lighting conditions is virtually impossible. So although we experienced a foggy overcast day, the subdued lighting created by the fog was a blessing for photographing the Puffins.
These next three images demonstrate the importance of thinking about back grounds and other elements in the image beyond the subject. Preference is subjective, but you must be intentional in acquiring a variety of backgrounds allowing you to enjoy the privilege of choosing that preference!
A mid-toned back ground.
A light back ground provided by the sky is fairly easily obtained by lowering the camera position and shooting in an upward trajectory. This changing angle of incidence also subtly affects the perspective of the bird as can be seen in these images.
The dark back ground. Care needs to be taken such that good differentiation exists between the bird (the black sections of the Puffin) and the dark back ground.
Although Puffins are quite independent while at sea, they are very social during the nesting season, clowning around with each other and creating a cacophony of sound that just can’t be described. It is difficult to capture the feel of the Puffin community with photographic stills but I trust these next few images provide a glimpse of Puffin life on Machias Seal Island.
In the image below, if you look carefully along the lower edge of the upper mandible you will notice a number of spear like bristles towards the base of the beak. These serve as small spikes that the Puffin uses to hold fish sideways in its beak and transport them back to the nest to feed the hungry young chick. The Puffin is able to catch fish sequentially, lock each one into place and continue fishing until the beak is full. This amazing design also allows the Puffin to fish at great distances away from the nest if necessary. Although the record number of fish observed in a single Puffin’s beak is 62, they typically average about ten.
Puffins often playfully spar with their beaks creating a percussive clacking sound.
As with people, each group appears to have a contrarian!
The Puffins seem quite inquisitive towards each other, perhaps because other than during nesting season they are primarily solitary birds. They are highly interactive making them a pleasure to watch.
Capturing birds in flight is a passion of many bird photographers and most of our time in the blind was spent attempting to get that special shot of a Puffin in flight. In-flight bird photography is technically difficult as it involves panning the camera to follow the target as flies through your field of view. It is also a challenge for the auto focusing system of the camera to keep tracking the bird and keeping it clearly in focus. Attempting to capture good in flight images while shooting through the small window in the blind complicated things significantly, however when you deal with the challenges presented and get a few decent images, it is always worth the effort.
This first image is more to show the bird’s environment than the bird itself. It is always good to begin with a few ‘environmental’ images of every species you photograph as it helps provide a better context for understanding of the animal’s world. During breeding season Puffins build their nests on the ground deep in the crevasses between the boulders that rim the island. If you look closely you will see this incoming Puffin’s mate poking her head above the rock that is protecting their nest and its precious contents (Puffins typically lay one egg and thus raise one new bird each year).
The little wings and rather rotund bodies suggest Puffins would be awkward in the air, but the opposite is the case as they are very quick straight line flyers reaching speeds of up to 55 mph with a wing beat frequency of 400 per minute.
Puffins are not large birds at about ten inches in length and weighing around a pound. The only time they are together is during nesting season. During the rest of the year they are typically solitary birds on the ocean, not meeting up with their mate until they arrive at same nest they left the year earlier.
When photographing birds in flight it is desirable to record captures with various wing positions creating uniquely different images that also allows one to study the primary feather characteristics thoroughly. The ventral under side of the wing is generally lighter in colour.
While the dorsal or top side is typically darker. It is thought that the white underside and dark top side of the Puffin provides protection from predation by making the Puffin hard to visualize from below by water dwelling predators and equally hard to see by raptors from above.
The bright orange feet of the Puffin are tucked neatly under the tail feathers during flight however they are exposed as the Puffin prepares to land at its nesting site. Located towards the end of the bird and with their large size they are ideally suited for swimming. Puffins are very agile swimmers and have been recorded at great deaths below the surface.
Normally Puffins consume the Sand Eels and Herring they enjoy as they catch them. The exception to this pattern occurs every summer when they are feeding the new addition to their family. For a period of six weeks or more after the chicks hatch and before they fledge, the parents take turns heading out to sea and returning with a beak full of fish. This small window of time also affords the photographer the opportunity to catch a Puffin in flight returning to the nest with a fresh supply of fish for the young Puffin chick. This was the reason we planned our summer road trip when we did….to hopefully be provided the opportunity to capture this classic image of a Puffin with its catch.
Seeing these images on the camera LCD was a thrill and well worth the time and effort required to get to Machias Seal Island.
Given the uniqueness of the Puffin’s appearance it is impossible not to take some tight portraits. There well deserve their nicknames of ‘ocean clown’ or ‘parrot of the sea’.
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Even though we planned well and were good stewards of our time in the blind, the hour passed very quickly and it was soon time to be escorted back to the docking area where Captain Peter was waiting to shuttle us back to the Day’s Catch for the return trip to Grand Manan. The video that follows provides a glimpse of just how foggy it was. The gentleman in the green T-shirt is Ralph Eldridge, one of the lighthouse keepers who lives on the island for one month at a time. He is also a superb photographer and Puffin expert. You can see his impressive photography via this link to his website.
It was a foggy trip home but the Day’s Catch was filled with fourteen people excited to share their Puffin stories with each other and looking forward to see what they had captured on their CF & SD cards.
After spending one more night at the Inn at Whale Cove Cottages we boarded the ferry for the return trip to Blacks Harbour, continuing on to Prince Edward Island and then the little town of Percé on the tip of the Gaspé Peninsula, famous for Percé Rock and Bonaventure Island – home to the second largest Northern Gannet colony in the world and our next bird photography adventure. If you haven’t already subscribed to our mailing list, please take time now to do so and we will let you know when the Gannet blog is posted.
Thanks for taking time to check out this post which I trust has piqued your interest in these wonderful little birds…. hopefully enough for you to plan a trip to Grand Manan and Machias Seal Islands for your next summer holiday.
The Mountain Bluebird (MOBL) is a small sized thrush that prefers open space habitats in Western North American desert and mountainous regions. They are year around residents in the western states however migrate as far north as Alaska to breed and as far south as Central America during the winters. The male MOBL is a vibrant blue colour while the female has more subdued colours with strong blue wing colouration. The Mountain Bluebird is the state bird of Idaho and Nevada.
A few weeks ago a lone female Mountain Bluebird arrived in an open field on the western reaches of Lynde Shores Conservation Area in Whitby and quickly became a local celebrity amongst birders and bird photographers. For many it was their first time seeing one of these beautiful birds.
I was twice able to visit this bird and I’m thankful for one of those opportunities being with nice light for photography. The following are some of the images I was able to obtain of her. These photographs were taken last Friday morning, December 11th.
The object of an image is generally obvious and we always think about it before releasing the shutter however care must always be taken to consider the back ground of every image you take. Often the difference between a snapshot and a great photograph is the back ground. The first two images in this series have the black walls of a barn creating the back ground which creates a high contrast with bird. The great distance between the bird and the barn allowed the use an aperture of f/8 to keep all of the bird in focus and still blur the back ground enough that the barn was completely indistinguishable.
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For the next two images I moved not more than ten feet in order to replace the barn as the back ground with a coniferous tree line in order to replace the black back ground with a green one. Although this is very subjective, I prefer the green which is a bit more natural looking and provides a better contrast with the beak of the bird. Compare images one and four and then two and three. Each pair is pretty much the same compositionally except for the back ground colour. Do you have a preference?
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The remaining images are from a different perch which was located such that overgrown grasses provided the back grounds. The first three images are against a ‘white’ grass/hay back drop creating the brightest of the BG’s and great contrast with the bird….and it also complimented the rather ugly bamboo perch!
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The final three images are against darker grasses that create a back ground shade which is perhaps my favourite of all we’ve looked at today with a nice warm tone that compliments the colours of the bird nicely.
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When a rare bird makes an appearance hundreds of birders and photographers will make a point of seeing the celebrity. Typically that means a plethora of photographs will show up on various photo sharing websites and soon they begin to look quite similar. It’s wise to observe the bird and its various behavioural displays and look for that unusual shot. Sometimes even the very common act of preening will provide that unique image.
The Mountain Bluebird was last seen early Saturday morning when just after sunrise it was observed flying west, presumably to return to its home territory. Often these lone birds that get off track while migrating don’t survive the rigours and dangers of travelling long migration distances alone without the help and safety that comes with travelling in numbers. She certainly looked healthy when I took these pictures the day before she left so I trust that by now she has been re-united with her family.
All of these images were taken using a Canon 1Dx and 500/4 lens with 1.4 x TC for an effective focal length of 700mm.
Regular followers of this blog will notice this post concerns something very different from the usual landscape and wild life themes….indoor event photography. Our church, Calvary Baptist Church, in Oshawa Ontario, has a large worship and media arts department that as part of their ministry produces and performs a major musical/theatrical presentation every Easter and Christmas. This past weekend we officially kicked off the Christmas season with the powerful and moving musical “Under A Starry Sky”. The presentation was performed four times over the weekend with more than 4,000 people attending. I had the privilege of photographing one of the presentations and thought a blog post regarding the challenges of event photography would be of interest.
Theatrical event photography requires careful planning as unlike a sporting event, the audience remains seated and quiet and generally don’t welcome a photographer moving throughout the venue during the performance. The photographer must balance the responsibility of recording the event with excellence while remaining respectful of the audience and performers. This is a time when stealthiness is a good thing, not unlike wildlife photography! Gear planning is also important and given the challenges of very low light interspersed with bright spots and floods the fastest lenses possible must be used. For shooting Under a Starry Night, I primarily used a 5D Mk III with a 16-35/2.8 lens and a 1Dx with a 70-200/2.8 lens. This combination covered a good focal range and didn’t require lens changing although I did use Canon’s new 100-400 L IS II for a few images. Finally I used a Fuji X-E2 with an 8mm fisheye lens for some interesting ultra wide angle images.
The fisheye allows one to capture the entire venue in one photograph, however these images must have strong foreground representation to be effective. In this case the audio-visual control centre provides exactly that (X-E2, 8mm).
Don’t forget to get a pic of the audience, which also provides a good record of the venue as well (5D, 16-35).
The music for the Christmas presentation was performed by an orchestra comprised of members of the church as well as guest musicians from the Oshawa Symphony. It hard to do the musicians justice with the camera but its important to show their invaluable contribution to the performance (1Dx, 70-200).
The technical challenges photographing this type of event revolve around the very difficult lighting inherent to them. The venue is typically dark while the actors and musicians are lit with spotlights that are of varying intensity, colours and temperatures creating extreme ranges of contrast and fluctuating white balance as can be seen in this image.
The tendency with event photography is to overexpose the performer’s faces which makes the resultant photograph unacceptable. This is certainly the case most of the time when using a camera on automatic settings, whether it be with your iPhone, point and shoot or expensive DSLR. The problem is caused by the mixed lighting confusing the camera’s light meter so the camera chooses an exposure that overexposes the faces of the performers. In order to prevent overexposing people’s faces, or ‘blowing out the highlights’ you need to shoot manually and underexpose every image by two to three stops. It’s a good habit to watch the histogram on your camera and turn on the highlight alert feature to quickly see if you are overexposing the faces. This next image was taken three stops underexposed from the meter reading.
The lack of ambient light in concert venues necessitates taking all measures available to shoot at shutter speeds fast enough to stop the motion of the people in the frame and prevent movement of the camera during the exposure. We don’t have time in this post to discuss these in detail, however they involve; using the widest possible aperture allowing the most light possible into the lens (f/2.8 for most the images in this post); using high ISO’s which make the camera sensor more sensitive to light (ISO’s ranging from 2000-4000 in this case); and shutter speeds close to 1/focal length which is the rule of thumb for the minimum shutter speed to prevent hand held camera shake during the exposure (this problem can also be minimized by using lenses with image stabilization or vibration reduction). Even still, if the subjects in the image are moving, they will be blurry at slow shutter speeds which is never acceptable, so you must also have a shutter speed fast enough to stop the action. From experience, shooting a concert type event like Under A Starry Sky requires a minimum shutter speed of ~1/80 second. A good outcome with slower shutter speeds is a result more of good fortune rather than good technique! So always get to an exposure that keeps things sharply in focus and be prepared to deal with the shallow depth of field created by the wide apertures and the increased noise created by the high ISO’s.
Having said all that, the improved technology with today’s high end cameras allow the taking of acceptable shots at extremely high ISO’s. This provides the luxury of obtaining shots in low light without the use of a flash in places that were not possible even two or three years ago. This next image was illuminated with only the podium light reflecting off the director’s score. It was taken at ISO 12,800, 1/60 sec, f/2.8 and 200mm!
The last technical issue to mention is white balance, which is something that every photographer and videographer deals with all the time. We could write pages on the complexities of white balance, but that will be left for another post. In a nutshell, it is important to set the camera white balance correctly so that what appears white to your eye when you took the photo also appears white in the resulting image or video. If the white balance is not set correctly an annoying colour cast becomes visible in the image. This is most evident by the skin tones appearing ‘off’ in the image. All light sources have an inherent frequency and temperature, both of which affect the colour of the light in the visible spectrum. The camera sensor must determine what that temperature is in order to calculate what white balance is required to accurately render the colours. This is very easy for the camera to figure out when there is only one light source, like the sunshine, however it is virtually impossible for the camera to calculate the white balance when the scene is lit by many different light sources and many different types of lights among those sources. Such is the case with a concert which utilizes literally hundreds of different lights, of different styles (temperatures) and different colours to create the dramatic effects necessary for an excellent performance. So what is the photographer’s solution? What I do is always shoot complicated lighting events in RAW format (a true digital negative that records all of the digital information captured on the sensor at the time of the exposure) and then adjust each image when processing the images on the computer. This takes a lot of time but helps tremendously in creating an image that best represents what your eye was seeing at the time of the exposure. Even still, as you look at the images in this post and in the gallery with all of the images, you will notice that skin colours are not consistent throughout. When you see a picture or video in which the colours just don’t look right or appear natural, it is almost always because the white balance was not set correctly, or the light sources were so mixed that it was impossible to set the correct white balance.
So enough of the technical discussion, lets look at some of the images from Calvary’s presentation of Under A Starry Sky.
Under a Starry Sky is a powerful seven scene musical that follows the spiritual journey of Melody, a young wife and mother who questions God’s presence as her family faces a bleak Christmas due to the loss of her husband Travis’ job just before Christmas. In this title slide we see Melody and Travis along with the Sounds Of Praise choir and the Calvary orchestra.
Melody
Travis
Throughout the musical many soloists, duets and ensembles were featured.
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Travis, Josiah and Evie.
Travis & Melody’s daughter Evie, praying for her mom….that she would know she was loved, by them and God. This is my favourite image from the musical.
Melody is transported back in time to that first Christmas when Jesus was born. Here she meets Anna, Mary’s mother.
Mary and Joseph making their way to Bethlehem and the stable where Christ would be born.
Melody meets an angel, Cleo, who was tasked with announcing the baby’s birth to the shepherds.
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Another of my favourites.
Melody meeting Harvey, one of the shepherds who took her to the manger.
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Melody returns to her family a changed person after having met Jesus, her Saviour.
The closing solo of the musical was Let There Be Light, a powerful vocal and visual presentation of Christmas, celebrating the birth of Christ, the Light of The World.
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I trust you have enjoyed this post and learned enough to give event photography a try….shoot RAW, take your fastest lenses, shoot wide open, turn up the ISO and get to a shutter speed that stops the motion on the stage and in the camera. Then have fun and try to capture the significant moments that help preserve people’s memory of the event.
Every year the Martin family Christmas season begins with Calvary’s Christmas presentation which is always a powerful presentation of why we celebrate Christmas, the birth of Christ our Saviour, over two thousand years ago. As the words of the Christmas carol pictured above so clearly say “Joy to the world, The Lord has come. Let earth receive her King”. Thank you to everyone who has followed this blog for another year. Your encouragement and support is much appreciated; we wish you a Merry and Blessed Christmas and look forward to an exciting New Year.
Time Lapse Photography is an area of photography that has intrigued me for many years however I hadn’t seriously attempted any until recently. Time lapse photography is a method of compressing a long period of time into a short video of 10-15 seconds. The concept is quite easy; take a few hundred still images over a predetermined time period and then place them sequentially into a video format. That said the technical challenges required to record the images are often difficult and the post processing and video formatting can be quite complex. An impressive final result is only obtained after much practice and lots of time, both to obtain the photographs and to edit and assemble them afterwards.
The purpose of this post is not to get too technical in describing the details however to show a few of my early attempts at producing time lapses and hopefully encourage you to attempt some of your own. Basic time lapse photography does require an investment in gear however it certainly is not cost prohibitive. Besides the camera, you must have a tripod to ensure the camera is completely stationary throughout the recording period and an intervalometer to control the operation of the camera while it takes the photographs from which the time lapse will be compiled (some cameras have internal intervalometers in which case you won’t have to buy one). Advanced time lapse photography allows the camera to move in up to three axes during the recording of the images and although the gear required to accomplish this is expensive the results are impressive.
The easiest time lapses to create are those in which the exposure remains the same throughout the recording period. This first time lapse is of the Muskoka Bible Centre Marina near our cottage. There were 330 images taken at three second intervals over approximately thirty minutes with exposure settings of 1/500 sec, f/2.8 and ISO 50.
Taking a time lapse at night employs the same technique as during the day however the length of exposure required and the ambient temperature changes create some interesting challenges that must be addressed in order to be successful. This next time lapse of the Aurora Borealis (Northern Lights) and Milky Way is a series of approximately 450 images taken over a four hour period at thirty second intervals at Torrance Barrens Dark Sky Preserve in Muskoka. The exposure data was 25 seconds at f/2.8 and ISO 3200 using a Canon 5D Mk III and 14mm Rokinon ultra wide angle lens. The camera lens was wrapped with three winter hand warmers to keep the lens barrel temperature above the Dew Point in order to prevent condensation on the lens which immediately ruins the time lapse. This time lapse was also recorded at the end of the Perceid Meteor Showers season so if you look close you will see a number of meteor trails.
Most photographers have more than one camera body, so if you get interested in time lapse photography, I would highly recommend setting up two cameras every time out. It doubles your practice opportunity and helps pass the time babysitting two projects while you are trying to stay awake through the night :). This next time lapse was taken at the same time as the previous one, the only difference being the direction the camera was pointed. The first was pointed north to record the Northern Lights while the second was trained on the Milky Way. The exposure data for both time lapses was the same however the Milky Way was shot with a Fuji X-E2 and 8mm Samyang fish eye lens with a 180° field of view which creates the curved horizon. The lens was wrapped with a hand warmer to prevent condensation.
As mentioned earlier the easiest time lapses to create are those in which the exposure remains unchanged throughout the entire duration, as was the case with the first three time lapses in this post. The reason for this is that with any change in exposure from one image to the next, the different exposure causes a noticeable difference in the luminescence of adjacent frames in the time lapse sequence which appears as flickering in the final video. Flicker is the bane of every time lapse photographer and we go to great lengths to get rid of it. You may think that slight changes in exposure from frame to frame would not be noticed but I can assure you it is. We always take exposures manually and fix the aperture so that the diaphragm remains motionless at all times. The micro variability in exposure caused by the diaphragm stopping down to the same aperture for each frame (as it does if you use automated settings for your camera) is readily seen as flicker in the time lapse video.
So what do you do if your desired time lapse demands changing exposures, such as recording the sunset followed by the appearance of the stars? These types of time lapses are very impressive yet technically difficult to create, in fact amongst time lapse aficionados they are known as the holy grail of time lapses. There are a number of methods for creating flicker free changing exposure time lapses and they fall into two broad categories, one in which the exposures are highly controlled in the camera with special intervalometers that allow for bulb ramping and another that uses software solutions to smooth out the exposure changes evenly from frame to frame. To date I have experimented with a few of this type of time lapse, which is just enough practice to get an understanding of how difficult they are to do well (which I have yet to do). I have tried both methods and reluctantly will share a sample of each method.
The first is a sunset to starry night transition using a bulb ramping technique. Bulb ramping is when you connect a highly specialized intervalometer to the camera’s USB port which gives the intervalometer the ability to control the exposure, aperture and ISO of the camera in infinitesimal increments so that frame to frame luminescence variations are not noticeable. You set your camera to bulb mode (meaning the shutter remains open and is controlled by the intervalometer) and the intervalometer ramps up the exposure times and ISO over the course of the time lapse based on light readings from sensors in the intervalometer. Hence the term ‘bulb ramping’. I use a Timelapse+ intervalometer which is a terrific piece of equipment that can be used for any type of time lapses as well as for multi image HDR’s and rapid light sensing triggers for photographing lightning bolts. If you are looking for the ultimate intervalometer, look no further than the Timelapse+.
This was taken at the cottage and not an ideal location for a starry time lapse as there is quite a prominent light dome created by the town of Huntsville approximately ten kilometres away. The bright ‘star’ that dominates the dark sky is actually Venus, the brightest object visible in the sky that night.
The above time lapse was made from approximately 520 images over a 4.5 hour period during with the intervalometer modifying the exposure time, ISO and interval between exposures. The exposure times ranged from 1/20 sec to 30 seconds. The ISO varied between 50 and 4000 while the aperture was fixed at f/2.8 (Canon 5D Mk III & Rokinon 14mm lens).
The second sunset to night transition was taken from our hotel balcony in Percé, Quebec this past July. For this time lapse I manually changed the exposure time and the ISO during the recording of the images. The aperture was fixed at f/4. As a general technique I began the time lapse overexposing approximately one stop and would manually decrease the shutter speed or increase the ISO when the camera meter indicated the scene was one stop underexposed. This resulted in approximately six to eight ‘major’ exposure changes over the four hour period I was recording the time lapse. The images were captured with a Canon 5D Mk III and EF 24-105mm f/4 L IS lens and processed using Adobe Lightroom and a fabulous programme called LRTimelapse which is designed to process time lapse images and render high quality video files of the time lapse. There is a bit of a learning curve to the software but once you understand how it works the results are incredible. In fact I almost deleted all of the images from this project before processing them as I was so unhappy with the results, but decided to give them a try with LRTimelapse. I was more than impressed with the results as the original work product was very poor.
At this point, there is much learning and practice to be done to improve in the area of time lapse creation, however its a fascinating niche within photography that has attracted my intention and I hope to produce many more. Over the short term my intent is to utilize both the software and bulb ramping techniques for day to night transitions as well as hopefully adding one, two and then three axes of motion into the mix.
When you have finished recording the 300-500 images required to produce a time lapse video there are some added bonuses to be had from the individual frames. For one, there should be a few good frames amongst the many which stand alone as an acceptable image or print. Here is one frame from the Aurora Borealis time lapse above.
Another interesting possibility, made easy with Adobe Photoshop, is to ‘stack’ all of the images from the time lapse into one single image. Although this creates a gargantuan file, the movement of the stars over the recording period create star trails when stacked into the same image. As all the stars in the Northern Hemisphere revolve around the North Star it makes for a very interesting result as seen by this stacking of 530 images into a single image. These are the images from the Mary Lake Sunset to Night Sky Time Lapse.
I trust this brief introduction to the world of time lapse photography has piqued your interest enough to give it a try. Beside your camera all you need is a tripod, an intervalometer and a big memory card to record all those images….oh wait….and a pot of coffee to keep you warm and awake while you stay up all night photographing the stars!
To capture fencing effectively, a low angle is required to separate the Gannets from the other birds and also create a clear back ground to enhance the photographic result.
Unfortunately, fighting is common amongst Gannets, sometimes between pairs and more often with other Gannets that venture too close to a neighbouring nest. When fighting the birds anchor their claws into the ground and extend their necks to fight with their beaks. It often appears that they are attempting to jab the opponent’s eyes.
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