Taking A Vacation From Photography (Not Really)

"Saint Marguerite" - A statue of Saint Marguerite Bourgeoys stands in La Basilique Notre-Dame in Montreal, Canada. Canon 6D Mark II, Rokinon 14mm f/2.8 lens, 1/30 second, f/8.0, ISO 3200, handheld.

I know it's been a long while since I've written a blog post. I'm sorry for that. If you have Instagram, please follow me there: @whimbrel_nature as that is where I've been posting the most these days. But I promise to blog more in the coming months and hopefully start to add more video to the mix as well.

"Opulent" - The altar area of La Basilique Notre-Dame in Montreal, Canada. Canon 6D Mark II, Rokinon 14mm f/2.8 lens, 1/10 second, f/8.0, ISO 3200, handheld.

Today I wanted to write about taking a vacation from your photography. But not actually a vacation from your photography completely (although that can be good sometimes too); instead a vacation from your usual style/mode of photography. Recently, I had the opportunity to travel to Montreal with my lovely wife. Lovely as she is, she understandably has no patience for my normal mode of photography where I might spend hours working one subject or area. She made me promise that if I brought my camera, I would just take quick snapshots as we went about our vacation. No long periods spent composing and working a subject and no special photography-only side trips. This is not my normal mode of photography. As such, I almost left all my heavy gear at home and resigned myself to only using my iPhone. But at the last moment, I decided to haul my gear along and I'm glad that I did.

"Bulbous" - Large stacks of garlic bulbs were a common sight with great visual appeal at the Jean-Talon open air market. iPhone 7, 1/300 second, f/1.8, ISO 20, handheld.

Each day we went out, I'd bring a very stripped down set of gear. I left my trusty tripod (which I use in well over 90% of my photography) at the apartment. That was hard. I left the house only with my Canon 6D, a Rokinon 14mm f/2.8 lens, my Canon 70-200mm f/2.8 lens, and my iPhone 7. For quicker trips to the market etc... I did only bring my iPhone 7.

"Red Doors, Blue Doors" - A set of interesting apartment doors near The Plateau area of Montreal. Most buildings in this area have a set of street level apartments and then second floor apartments accessed by a metal staircase. iPhone 7, 1/900 second, f/1.8, ISO 20.

It was a worthwhile exercise to shoot all handheld and to be forced to shoot rapidly, without much pre-planning or limitless recomposing. Not only was it kind of fun to do something different, but it also caused me to think quicker on my feet, become more familiar with my camera controls on my relatively new 6D Mark II body, and worry a bit more about my shutter speed than I normally would with tripod-based landscape or architecture photography.

"Réseau" - Part of the Underground City or RÉSO, a network of over 20 miles of interconnected pedestrian tunnels and buildings in downtown Montreal, Canada. This particular tunnel features the frame of a former bank vault. This network allows downtown Montreal residents to go about their business without ever having to go outside during the harsh winters. I loved the geometry, colors,  light, and reflections in this particular tiny part of the network. Canon 6D Mark II, Rokinon 14mm f/2.8 lens, 1/10 second, f/8.0, ISO 400, handheld.

Limitations, particularly ones you are not normally used to, can also really spur creativity. In addition to taking some images that I would not normally do otherwise, I also used the opportunity to take lots of images of architecture and public art that I can use for later composites. For this, I used both my Canon and my iPhone, but more predominantly the iPhone.

"Montreal Origami" - One of my initial composites from Montreal, composed from an iPhone 7 image of an academic building at McGill, an iPhone 7 image of the corner of a building in The Plateau region, and an extracted image of part of an abandoned grain elevator in the old port taken with my Canon 6D Mark II and my Canon 70-200mm f/2.8L lens.

An example of some of the great murals and graffiti art scattered around the Plateau, Latin Quarter, and Gay Village neighborhoods.

I even dabbled in some people photography. Although as is my tendency with people/street photography, I tended to focus on gesture and body language, more than faces. I don't think this is because I'm uncomfortable approaching subjects, I've done that before. I think it is because I'm more interested in a more general representation of humanity and the human condition, rather than focusing on a particular individual, in much of my people work.

"Impatience" - This small family sat in some chairs inside the Chalet du mont Royal, but the "dad" was anxious to get moving again. This image was even more of stretch for me as I generally don't like photographing at touristy areas during touristy times of day, or going places with large crowds in general. Converting to black and white allowed me to really emphasize the contrasty lighting and deep shadows and eliminate a lot of distracting color in the background outside the doors. iPhone 7, 1/450 second, f/1.8, ISO 20, handheld.

"Looking Outward" - This image was also taken from inside the Chalet du mont Royal in the Parc du Mont-Royal.  I love the way this doorway frames the scene and the pensive pose this young lady in the dress held for a long time. The telephoto served to compress the scene and make the buildings look closer than they are in reality. Canon 6D Mark II, Canon 70-200mm f/2.8L IS II USM lens, 1/160 second, f/16, ISO 400.

The architecture in Montreal is amazing and varied. In some ways I really found myself wanting to slow down or revisit in better light. However, learning to shoot good images during less than ideal time or lighting conditions is a worthwhile skill to develop.

"Opulent II" - A view of the ceiling and organ of La Basilique Notre-Dame in Montreal, Canada. Canon 6D Mark II, Rokinon 14mm f/2.8 lens, 1/10 second, f/8.0, ISO 3200, handheld.

"Chalet Chandelier" - Looking up at the ceiling and the interesting chandelier at the Chalet du mont Royal in the Parc du Mont-Royal. Canon 6D Mark II, Rokinon 14mm f/2.8 lens, 1/10 second, f/8.0, ISO 250, handheld.

"Old Money" - A row of old banks and hotels in the western section of Old Montreal. Canon 6D Mark II, Rokinon 14mm f/2.8 lens, 1/1250 second, f/8.0, ISO 400, handheld.

"Royal Treatment" - Architectural detail in the main hall of the former Royal Bank Tower, which is now a beautiful cafe. Canon 6D Mark II, Rokinon 14mm f/2.8 lens, 1/15 second, f/8.0, ISO 3200, handheld.

"World Trade" - Inside the Montreal World Trade Center and one of the many entrances to the RÉSO. Canon 6D Mark II, Rokinon 14mm f/2.8 lens, 1/160 second, f/8.0, ISO 400, handheld.

"Biosphere" - One of the first things you notice when driving into Montreal from the south, the Biosphere was the United States pavilion for the Expo 67 World's Fair. The geodesic dome was designed by Buckminster Fuller. Canon 6D Mark II, Canon 70-200mm f/2.8L IS II USM lens, 1/400 second, f/13, ISO 200, handheld.

Montreal also has a fascinating history and a lot of those historical tensions are still visible in the city today. The initial European settlement was founded by the French and Catholic religious orders. Later the English took over and held economic power. The tension between French speakers/culture and English speakers/culture continues to this day and there are even laws on the books to keep French the predominant language of the city. While photographing the city, I tried to stay cognizant of this history and do justice to both the city's religious roots and the tension between the French and English.

"Prayers, Said and Unsaid" - Catholicism has played a major role in the history of Montreal and several historic churches and cloisters are found in Old Montreal. These prayer candles were photographed in the Chapelle Notre-Dame-de-Bon-Secours in Old Montreal. Canon 6D Mark II, Canon 70-200mm f/2.8L IS II USM lens, 1/25 second, f/8.0, ISO 3200, handheld.

"City, In Pieces" - I like this image because I think it represents well all the different influences and tensions that have shaped and continue to shape Montreal. The statue of one of the founders of Montreal and La Basilique Notre-Dame represent the French influence and the importance of the (particularly Catholic) church. Diametrically opposed is the Banque Canadienne Nationale tower which represents the English influence. Behind the statue can be seen three of Montreal’s earliest skyscrapers. These buildings, including the beautiful New York Life Building and the Art Deco Aldred Building, represent both other foreign influence and the city’s emphasis on the arts and incorporating art into city planning. They also show the regulation of building height compared to nearby Mont Royal. I was lucky to catch two pigeons flying which represents the abundant urban wildlife and green space of this large city. Canon 6D Mark II body, Rokinon 14mm f/2.8 lens, 1/1000 second, f/8, ISO 400, handheld.

Some day I hope to revisit Montreal with some time for a slower and more deliberate style of photography, taking into account all that I have learned about the city. But for now, I'm very happy with my brief "photography vacation."

Favorites Of 2017

It's come time for my traditional countdown of my favorite twelve images from the previous year. 2017 was a good year for photography, despite my third (and final) year of wood thrush field work taking up much of my time between the end of April and the beginning of October. As usual, there were some tough choices to be made to narrow it down to just twelve images. Here are my favorites from this year, in no particular order.

1. "Placid Lake, Turbulent Skies"

This image was taken near the top of Whiteface Mountain looking down towards Lake Placid during peak foliage at the beginning of October. At the end of our annual camera club trip to the Adirondacks, a group of us decided to take the drive to the top of Whiteface. Despite iffy weather and a small traffic jam at the entrance, our perseverance paid off more than we could know. At the top we were treated to windy and frigid conditions, but also incredible views of the surrounding foliage and mountains with light beams breaking through the stormy cloud cover everywhere. This image is a panoramic composed of seven vertical images taken with my 70-300mm lens set at 70mm. Each of those images was in turn created from a 32-bit HDR made in Lightroom from three identically composed images shot at 1 stop increments. I turned off Auto-Tone and processed the 32-bit images manually. All images were shot at f/16. Obviously to pull this off, all images were shot on a tripod in quick succession.

2. "Gaping Gator"

I encountered this relatively small alligator sunning itself along the dike at the Audubon Swamp Garden in Magnolia Plantations and Gardens near Charleston, SC. The behavior depicted is called "gaping" and is likely a thermoregulatory behavior. The alligator rests with its mouth open and often the buccal pouch extended. This individual was nicely backlit; illuminating the translucent skin of the pouch. With the benefit of almost the full reach (with a 1.6x crop factor camera) of a 100-400mm zoom lens, I was able to carefully get down to eye level to photograph this individual.

3. "Broken Dancer No. 3"

2017 was a great year for my night photography, although mostly with less natural subjects. One of my favorite locations for night photography this year was Woodlawn Cemetery in the Bronx. This cemetery has a large collection of historic, elaborate, and artistic mausoleums and monuments. Although I captured a few images here that made it to the candidates for favorite of 2017, this image is far and away my favorite of the bunch. This image was light painted with the help of my friend Peter Nagy. I'm photographing with my tripod fully spread, lying on my belly on the ground with my Tokina 11-16mm lens. There is a powerful pink/magenta colored light pointed at the front of the statue. I'm using a spotlight from the ground to light the writing on the block and fill in some of the detail on the side of the dancer and remove some of the color cast on the statue. Peter is holding a small spotlight on the hands to emphasize the hands and remove some of the color cast from that area as well. Irene Castle and her husband were a famous dancing couple and when he died during a wartime training accident, she had this statue commissioned for his marker.

4. "Love Bugs"

I captured this macro image late one evening in July near Swan Lake in Rockefeller State Park Preserve. I went to this patch of milkweed plants looking for macro subjects and this pair of red milkweed beetles obliged. I love the contrast between the bright red beetles and the green surroundings. The red and black coloration warn potential predators of their foul taste due to toxic cardiac glycosides obtained from the milkweed plant. In an example of Mullerian mimicry, many of the insect species feeding on milkweed have a similar red/orange with black pattern.

5. "Me And My Shadow"

This image was captured at Nickerson Beach Park on Long Island. I was thrilled to finally capture some images I was happy with of this beautiful and charismatic bird. This image is one of my favorites because the combination of behavior, a parent bringing food to its young, and the perfect shadow, elevate this image beyond the standard animal portrait. This individual passed close by me on foraging runs several times as I sat still and quiet on the beach front.

6. "Give Me Shelter"

While the lighting may not have been ideal, any time you catch a baby owl out and about during the daytime has to make the favorite list. This baby screech owl was waiting in this beech tree with its parents for the rest of its siblings to fledge from the nest. It was soon joined by two other baby screech owls in the same tree. Taken mid-June in Rockefeller State Park Preserve.

7. "Displaying Teal"

This displaying blue-winged teal was displaying in February at the Audubon Swamp Garden at Magnolia Plantation and Gardens. I love the blend of frozen detail (particularly the eye) and blurred action in this behavior shot. Just enough detail is captured in the pale blue, white, and iridescent green wing feathers to show the structure of the colored wing patches. Because of hunting pressure, it can be hard to get good images of these ducks, so it was great to find wild ducks that were mostly habituated the hustle and bustle of the busy plantation.

8. "Gaea Overwhelmed"

2017 also saw many new additions to my "Fairytales" composite series. "Gaea Overwhelmed" is one of my favorites because of its environmental message and the overall visuals. I originally conceived this image and shot the background subway image back in April. But I didn't finish getting the background image into shape and photographing and adding the figures until October. As with all the images in this series, I've tried to layer multiple meanings/interpretations and social commentaries into the fairytale story and mix in modern elements to indicate their modern relevance.

9. "Chorus Line"

This line of white ibis was also photographed in the Audubon Swamp Garden at Magnolia Plantation and Gardens near Charleston, SC. I noticed the birds lining up on the branches of this dead tree, but then it was a matter of finding a viewpoint that wasn't obstructed by other vegetation, but allowed me to capture the linear arrangement. The overcast sky provided a nice high-key effect.

10. "Crested Dwarf Iris And Trail, Little Frog Mountain Wilderness"

During 2017 I also continued to work on my "Smallest Wilderness" project; revisiting some local wilderness as well as areas in South Carolina, Tennessee, and Virginia. This image was made just inside the Little Frog Mountain Wilderness in Cherokee National Forest just after a light rain. Crested dwarf iris are among my favorite wildflowers and I love their saturated green and purple colors.

11. "Spring Green"

During my work on the "Smallest Wilderness" project I also visited the small but stunning Gee Creek Wilderness in Tennessee. A combination of waterfalls and wildflowers made this wilderness a joy to hike. The combination of trillium with the spring maple leaves and a katydid nymph combine to elevate this image above the "standard" wildflower close-up shot.

12. "Fall Ring Cycle No. 2"

2017 also saw the development of a new series that I'm very excited about. "The Shape Of Things" series takes elements from my nature photography and turns them into pieces of digital art that in addition to being beautiful also illustrate concepts of morphology, seasonality, cycles, and the passage of time in the natural world. This image is one of my favorites depicting the cycle of color change in foliage and the seasonality of the natural world. To see more of this series and my other composite, night, and digital fine art work, please visit my new website at https://whimbrelnature.myportfolio.com/work .

Happy New Year to all! Wishing you the best and lots of outdoor adventures in 2018!

Night Photography

"Monumental Death"-  Light painting of the Harbeck Mausoleum on the grounds of the historic Woodlawn Cemetery, Bronx, New York. Harbeck is one of the largest and most ornate mausoleums on the grounds. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 200, f/11, 30 seconds. As usual with my light painting, this image is built up from several separately light painted images, allowing me finer control over the final image and the ability to produce several different interpretations from one relatively short session.

Those who follow the blog, or my work in general, will know that in addition to all things nature, I have a passion for night photography. I love combining nature and night photography, but I'm also not adverse to photographing more "human" subjects at night, particularly with light painting techniques. In the past few weeks, I've had the opportunity to get out with members of my camera club and do (and teach) some more architectural-focused night photography.

"Hitchcock Church"- This architecturally interesting Presbyterian church in Scarsdale, NY was the site of a night photography workshop session for my camera club. After the instruction was over, I just couldn't resist taking some images for myself. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 100, f/8, 2.5 seconds. This exposure uses only ambient light.

I thought I'd share with you a few of my favorite images from those outings. A few of the images are from Hitchcock Presbyterian Church in Scarsdale, NY. This was the site of the "hands-on" portion of a night photography workshop run by my friend Peter Nagy, which I assisted with. The rest of the images are from Woodlawn Cemetery in the Bronx, during a club night photography field trip also organized by Peter.

"Moonlight Repose"- A small mausoleum with a beautifully ornate door nestles under trees backlit by the full moon. The mausoleum and trees were painted with a flashlight. The blurring in the trees is due to fairly strong winds that evening, but I kind of liked the effect in this case. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 200, f/16, 30 seconds.

Woodlawn Cemetery is a night photographer's wonderland. Full of fascinating and historical mausoleums and grave markers. We were photographing for close to five hours, yet I barely scratched the surface of the available subjects. I can't wait to get back and do more.

"Illumination Within"- Many of the mausoleums at Woodlawn include gorgeous panes of stained glass, such as this one which was opened for our group. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 200, f/16, 30 seconds.

Often my night photography inspires other creative endeavors. In the example below, an image of the Hitchcock Church door inspired and became the background for a new image in my "Fairytales" series.

"Hitchcock Church Door"- This image of the church door, taken with ambient light, is a panorama composed from two vertically-overlapped horizontal images. I liked how pointing up and down with the wide-angle lens exacerbated the curvature distortion from the  ultra wide-angle. It has the intimate feel of a fish-eye lens. After converting to black and white, this image inspired the creation of a new image in my "Fairytales" series, seen below. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 100, f/8, 4 seconds.

"Forbidden Door"- Inspired by the image above, this image was additionally inspired by the "Bluebeard" fairytale. The model, the blood, the locking mechanisms, the keyhole, and the locking board were all photographed from separate locations and composited in.

When I'm light painting a subject, I like to take multiple exposures which are then combined later with Lighten Mode in Photoshop. This has several benefits. The first is that it allows shorter exposures, which helps keep the sensor from heating up and therefore cuts down on long exposure noise. Secondly, and more importantly, it allows me much more fine control of the light on the subject. Finally, by lighting separate pieces, separately, I have a lot more easy control over the look of the final image and can even produce several versions with different moods or emphasis, all from one relatively short light painting session.

"Small But Beautiful"- While it is a rather compact mausoleum compared to some others in the cemetery, the Everard mausoleum is no less ornate in its structure and use of stained glass.  I took three exposures of this mausoleum. In one, I just shone light through the stained glass at the back. In the two others I light painted the front from the left side and the right side. The right side light painting was sufficient and I liked the shadows and detail much better than in the left side exposure. So I only used two images, combined on Lighten Mode in Photoshop to create this image. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 200, f/16, 30 seconds.

As mentioned, Woodlawn includes some historic burial sites, including the fascinating tomb of F.W. Woolworth.

"Five And Dime Pharaoh"- F.W. Woolworth is buried in an Egyptian-style mausoleum guarded by two beautiful sphinxes. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 200, f/16, 30 seconds.

Hope you enjoyed the images. If you are a photographer, get out and try some night photography and light painting. You might just find yourself hooked!

"Grecian"- A closer view of the ornate door on the Penney mausoleum. It's fascinating how many of the older mausoleums are influenced by ancient and classical art, the resident's "greatness" presumably amplified by the connection with great cultures and empires. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 200, f/16, 30 seconds.

Impressions

"Puddle"- An aspen leaf floats on a puddle in the parking area next to Chapel Pond along Route 73. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/16, 0.4 seconds.

As I mentioned in my previous post, I wanted to share with you some images I made during my last trip to the Adirondacks, and over the last few years, that take a more impressionistic view of the Fall scenery. All of these images were created either using camera motion with a slow shutter speed or by photographing reflections in moving water (with and without slow shutter speed).

As I was updating my Creative Cloud apps, I noticed this new thing called Adobe Spark. I thought I'd give it a try. This video was created using Spark and it was very easy to create a pretty professional looking/sounding video. While there may be times that I want a little more control, this certainly saved me lots of time versus using Premiere Pro and scouring the interwebs for Creative Commons music that fit the mood. They had a great music selection for inclusion with the video. I'll definitely be playing with Spark some more to see what it can do.

"Monet's Fall"- Birch, Red Maple, and Aspen blur together to create an impressionistic canvas capturing the color and textures of Fall. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 200, f/16, 2 seconds.

Blogger might have lost a bit of quality in the compression, so feel free to check out the original version here: https://spark.adobe.com/video/GJlKKefTRBhg5 

Thanks for watching!

Light And Color

"Placid Lake, Turbulent Skies"- A small group ventured to the top of Whiteface Mountain and were rewarded stunning light and gorgeous foliage, but also 20-50 mph winds with temperatures in the 50s. To capture this image I used my 70-300mm zoom set at 70mm. This is a panorama composed from seven vertically-oriented frames. I bracketed each of the frames at +/- one stop and combined each individual frame into a 32 bit image using the HDR feature in Lightroom, then adjusted accordingly to capture the full dynamic range of the scene. Then I merged the seven HDR frames into the final panorama and completed global adjustments. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 100, f/16.

Just recently returned from a fabulous fall weekend in the Adirondacks with members of the Color Camera Club of Westchester. We had some great foliage and good, to spectacular, photography weather for much of the weekend. It's always fun to get together with a bunch of other photographers, in such a beautiful location.  I thought I'd share a few of my favorite images from the long weekend.

"Solid And Fluid"- I used a slow shutter speed and combining several frames in Photoshop to capture the flow of bubbles from upstream rapids inside the chasm. I love the way the flowing water contrasts with the solid, immobile, rock walls. Although it is the rock that eventually gives way to the force of the water over geologic time. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 100, f/22, 8 sec.

We had a group trip to Ausable Chasm, which is somewhere I normally would not go on my own, being more of a wild photographer. The chasm was spectacular, although the local foliage wasn't that strong. On the way back to Schroon Lake, we drove through part of Lake Placid and along Route 73, which had peak foliage.

"Peak Fall"- Peak foliage graces the former site of the Old Keene Barn with the foothills of the High Peaks area in the background. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 100, f/16, 1/5 sec.

In my next post, I hope to share a collection of impressionistic photographs I've made of fall in the Adirondacks over the last couple of years.

"Chasm"- Panoramic image of the Ausable River canyon composed from four horizontal frames. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 100, f/16, 1 sec.

In the meantime, get out and enjoy the season!

"Under Stormy Skies"- Lake Placid from the slopes of Whiteface Mountain under stormy skies. Canon 7D, Tokina 11-16mm f/2.8, ISO 100, f/16, 1/125 sec.

The Secret Lives Of Peeps

"Ruffled" A semipalmated sandpiper looking disheveled after shaking out its plumage. It's mottled appearance of light grey and darker feathers, plus pointy feathers without buffy edges indicates that this individual is an adult (AHY) bird and not a young bird from this year. The wear on the old plumage and molt makes the adults look distinctly shabby compared to the new, bright, rounded, and neatly bordered plumage of young birds. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

No, not the marshmallow ones, that's a blog entry for another time. This post focuses on the biology and behavior of the small Calidris sandpipers (collectively known as "peeps") and how best to observe them. This post and the accompanying images were inspired by a recent field trip I led to Jamaica Bay Wildlife Refuge in Queens, NY with some great folks from the Color Camera Club of Westchester.

"Quiet Moment" Compare this juvenile (HY) semipalmated sandpiper to the adult pictured above. Notice that there are no obvious molt patterns with distinctly darker fresh feathers next to faded older ones. Notice that each feather on the back is nicely rounded instead of pointed and worn to the shaft on the tips. Also notice that each feather is clearly edged in buff or white. Overall the appearance is crisp, clean, and scaly. If you zoom in, in this image you can also see the fine serrations on the inside of the slightly open bill. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Aging Peeps On Fall Migration

These techniques also work for many other species of shorebirds as well. First, take in the overall appearance. Juvenile shorebirds in the fall look clean, crisp, generally more colorful, and almost "scaly" in appearance. Adults tend to look slightly shabby, faded, and lack the "scaly" appearance. Next look for molt patterns. On a juvenile feathers will vary with the plumage pattern, but feathers in the same area/set will look roughly the same in color, tone, and brightness. In adult birds you will see feathers that are obviously newer (different, often darker or lighter color and less worn), next to older ones. Then look at the feathers themselves, are they rounded and fresh looking (juvenile, hatch year or HY bird), or distinctly pointed and often worn down to the shaft at the tip (adult, after hatch year, or AHY). Finally are the outer edges of the feathers outlined with a pale buff or white, giving the above mentioned "scaly" appearance on the back? This is an indication of a juvenile bird. In adult feathers this time of year, most of this edging has worn off or is absent.

"Consistency And Variation" Despite overall consistency in size, plumage pattern, and bill compared to the differences between peep species, there can be quite a bit of variation in semipalmated sandpipers (Calidris pusilla) in color, bill length, and body size. Notice in these two juvenile (HY) individuals that the bird on the right is darker, more brownish, and has a bit more rufous in the edges of the upper scapular feathers. Birds can vary between grayish, golden, to dark brown. Bill lengths and the amount of slight droop at the tip can also vary between individuals. This variation can sometimes be a source of confusion with distinguishing from other peeps such as western sandpiper (Calidris mauri). Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Species

Depending on the habitat and timing, but certainly the case at Jamaica Bay Wildlife Refuge in NY where these images were taken, semipalmated sandpipers (Calidris pusilla) will probably be the most abundant peep species during migration in many east coast locations. Often birders have a difficult time picking out other peep species; and when you are dealing with flocks of hundreds of constantly shifting birds, it can definitely be a challenge. Here are a few tips for picking out other species among the numerous "semis".

"Shake It Off" A white-rumped sandpiper (Calidris fuscicollis) shakes water off its body after bathing. In the field, this peep is noticeably larger than the other three common peeps in this habitat. Also note the elongated appearance and when folded the wing tips will extend beyond the tail. The distinct white supercilium is also a good field mark. When visible, the orange/red base of the lower mandible and the completely white rump (visible when flying or preening/bathing) are diagnostic. For a challenge, can you age this bird using the skills you learned above? Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Overall shape and size can be good indicators that something is worth a closer look. Western sandpipers (Calidris mauri) average slightly larger, chunkier, and front heavy than semipalmated, while least sandpipers (Calidris minutilla) average slightly smaller and lighter. White-rumped sandpipers (Calidris fuscicollis) are quite noticeably larger than all these peeps and the wings extend beyond the tail giving the bird a distinct sleek, elongated look when compared to other nearby peeps.

"Pale Reflection" A western sandpiper (Calidris mauri) forages in the shallows. Notice the overall paler, grayer appearance and front heavy bearing. Also the bright rufous edged upper scapulars (particularly contrasting with the overall paler appearance) are a strong indicator of a western. Finally, notice the the longer bill with a noticeable droop near the tip. Full disclosure, this image was made in September of 2014 at Jamaica Bay, as I didn't capture any images of western sandpipers on my most recent trip. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/5.6, 1/1000 sec.

Overall color can be another great indicator. Western sandpipers tend to molt earlier than other peeps and by September are often in much paler, grayer non-breeding plumage. Also the bright rufous edges to the upper scapulars frequently stand out as a distinct color patch. Least sandpipers tend to be a much richer, and in juveniles more overall rufous, brown than the other peeps. An additional diagnostic color cue is that least sandpipers are the only peeps with yellow legs (but be careful of mud encrusted legs).

"Least, But Not Last" The least sandpiper (Calidris minutilla) is our smallest common peep. Note the deeper brown color with more rufous, the thin drooped bill, and diagnostic yellow legs. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Finally, pay attention to bill size and shape. This can be fairly variable in semipalmated and there is some overlap with western, but taken in conjunction with other features, this characteristic can be important for positive ID. Western sandpipers have generally longer bills that are more tapered and drooped at the tip. Semipalmated bills tend to be shorter, straighter, and more blunt in comparison. Least sandpiper has a thinner, more tapered bill, with a very distinct, but small, overall droop. White-rumped sandpipers have a wide base that tapers significantly towards the tip, also with a distinct droop.

"Step Lively" A juvenile semipalmated sandpiper runs towards me during an active foraging session after landing. You can actually see the slight webbing at the base of the toes that resulted in the name "semipalmated". Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Behavior

Migrating in flocks, peeps make for great behavior watching. One of the main behaviors you'll notice is foraging. Take some time to watch the different species of peeps and individuals. Do certain species or individuals spend more time probing in the water or on land? Do they mostly utilize the wet mud flats near the edges of the water, or farther upland where the mud is dryer or dominated by vegetation. Do they do more gleaning or probing in the mud?

"Mouthful" A semipalmated sandpiper gobbles down a mouthful of invertebrate it gleaned from the surface of the mud and grass. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Other behaviors to look for include preening and bathing, predator detection and avoidance, as well as small scale territorial squabbles (usually over feeding space or prime resting areas).

"Making Pretty" A peep preens its feathers as it rests on a small island in East Pond of Jamaica Bay Wildlife Refuge. Pop quiz: which species and what age? Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

And if your entire flock suddenly flushes through no action of your own or other nearby humans, keep your eyes open.

"Wary Of The Skies" A juvenile semipalmated sandpiper scans the skies for aerial predators. If you watch a flock of resting peeps they will frequently make these scans for predators, particularly if the movement or shadow of a larger bird flying over makes them wary. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

You might just be treated to the sight of a hunting peregrine falcon.

"Liftoff!" A semipalmated sandpiper flies from the water to the shore. If your entire flock of shorebirds flushes and it wasn't something you did, keep an eye out for aerial predators like the peregrine falcon. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Other Species

"Open Wide" Semipalmated plovers (Charadrius semipalmatus) are often found among or nearby flocks of peeps. I think this individual was yawning or stretching. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

When out observing peeps, don't forget to look around for other shorebird species. Often species like the semipalmated plover (Charadrius semipalmatus) will be mixed in with the peeps. Nearby, but usually not part of the peep flock, you might see larger shorebird species like on of the yellowlegs or the stilt sandpiper (Calidris himantopus).

"Eye On The Sky" Peeps are not the only ones that periodically scan for aerial predators. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

Go Slow, Stay Low: Observing Peeps And Other Shorebirds

One of the best ways to observe shorebirds is from a distance with a spotting scope. This is the best way to ensure that you are not unduly disturbing the birds. Even then, wearing muted natural colors that blend into the environment (not white), moving very slowly, and staying low as your body and viewing conditions will allow, will keep your actions from disturbing the birds.

"Close-Up" While not my best composition, I include this image of a foraging semipalmated sandpiper to show how close birds can get if you follow the tips described here. I also like how you can really see the feather detail in this image. This bird and several others actually came even closer, but they came so close (probably within a foot) I could no longer maintain focus without reaching up and switching my lens to "macro" mode, which I didn't want to do for fear of startling them. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

If you need to get closer for photography or you just want to experience the magic of feeling part of the flock and observing behavior on a personal level, then you'll need to take extra care. I need to state explicitly at this point that you should avoid flushing shorebird flocks as much as possible (sometimes trail paths or beach activity make that impractical/impossible). These birds have a limited amount of time to refuel for their long journeys south and time spent flushing back and forth is an additional expenditure of energy on top of the time lost feeding. Never chase birds back and forth, if you inadvertently flush them, back off and accept that the flock might be too sensitive to approach. It is important to note that I didn't flush any of these birds while taking these images, in fact, as I worked, additional birds joined the original flock. Eventually I was practically surrounded by birds on all sides.

"Plover Portrait" This semipalmated plover spent time wandering all over the small island where I was photographing. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

The best strategy is to find a place that seems to be productive and then sit and wait until the birds come to you. Either arrive before first light, or approach an area just after the birds have been flushed by a predator or other human activity. Again, while camouflage/ghillie suits are helpful, it is not necessary, but natural, muted colors are a must.  Get as low as possible. In fact, your best results will be if you lay down. With the possible exception of beach goers, shorebirds are not used to seeing humans lying down and don't perceive them as a threat in that position. This has the added benefit of giving you an eye-level perspective, instead of looking down on the birds. Any movements and readjustments should be done deliberately, glacially slow. Try to avoid direct eye contact with your subject, particularly while moving, as that is perceived as more threatening. Either look through your camera or out of the sides of your eyes.

"Pale Knight" A particularly pale (and longer beaked) specimen of a semipalmated sandpiper strikes a pose while foraging nearby. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/1250 sec.

If you must approach a flock, then there are several techniques that can help. Watch the birds carefully (but not directly, see above) and at the first sign of agitation, stop all movement and don't resume until the birds have gone back to normal activity. Signs of agitation can include birds becoming alert from resting postures, birds looking directly at you, birds alarm calling, birds moving away, and birds with a hunched posture indicative that they are readying to take flight. Avoid direct eye contact as you move, in fact try to look at the ground or off to the side. Move exceedingly slow with frequent pauses to give the birds a chance to adjust and to gauge their reactions. It is also often helpful to approach from an indirect route, either zig-zagging to your final destination or heading towards a goal off to the side before shifting into your final position. Stay very low. Inch on your belly if possible. If not, crawl, kneel, or hunch over.

Patience is key. It may take a while for birds to fully accept your presence, but soon they might start acting as if you aren't even there or are part of the environment. With this birds will start moving towards and in front of you and you'll have unprecedented access to details of plumage and behavior. It can be a truly magical experience for those with enough patience, and the will to tolerate wet ground, insects, sun, and uncomfortable positions.

"Sunrise Reflection" I'll leave you with an image of one of the larger Calidris sandpipers, the stilt sandpiper (Calidris himantopus) which I photographed just after sunrise as we emerged out onto the first of the mud flats on East Pond. Canon 7D, Sigma 70-300mm f/4.5-5.6 DG APO lens, ISO 400, f/8, 1/320 sec.

Enjoy and always keep the welfare of the birds utmost in your mind.