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."

Gone Instagramming...

"Snake Bird" An immature anhinga (Anhinga anhinga) takes a break from preening at the Venice Audubon Rookery in Venice, Florida.  

You may have noticed I've been a bit lax in updating the blog and Facebook page recently. That's partly because I've been very busy lately, including some great photography trips, and partly because I've been focusing my social media efforts lately on jump-starting my Instagram presence.

I realize I'm pretty late to the game here. An older model phone with no memory left, and the requirement that images be uploaded from mobile, kept me from really adopting Instagram for quite a while. In this post thought I'd give a brief rundown of what I like about using Instagram for wildlife photographers and what I don't like.

First, let's start with what I like and how I think it differs from my blog, Facebook page, and Twitter. One major difference is organic reach. I feel like I'm reaching a lot more people (and new people) through Instagram than I have with any of the other platforms. Particularly now that Facebook is throttling how many subscribers (and non-subscribers) see your posts in order to get you to purchase more reach. More so than Twitter, I feel like the hashtags and direct mentions are helping me to reach more of an audience that is genuinely interested in my work. I feel like with my blog and Facebook I'm only reaching folks that already interact with my photography (and sometimes barely at that). I also like that Instagram puts the photography foremost. Unlike Twitter where the photograph or blog link are usually secondary to the text (and often requires an additional action from the viewer), Instagram is focused on the image and the text is secondary. Unlike Facebook, the images are featured at full size (usually) and in their best light, instead of being cropped down and requiring the user to once again click and go to another screen to view them. I feel like some of the Instagram hashtags actually have a good following of people looking for interesting images. Twitter always feels like I'm releasing sand grains into the wind or a message-in-a-bottle into the vast ocean. There is just so much noise that the chances that anyone will see and interact with my tweet are slim. I also feel like I am much better able to interact with brands and organizations that might be interested in my photography on Instagram. I've had a lot of luck getting them to respond to my photography. Finally I like that there isn't a tight limitation on the text length in the Instagram posts. They are like mini blog posts. I can say what I want to say, and still have room for relevant hashtags and mentions.

Okay, now what I don't like about Instagram. As mentioned before, I'm not too thrilled that I can't post from my desktop. I'm not a big iPhone photographer, so almost all of my images are coming from my DSLR. The extra step to send the images from my computer to my phone is time consuming and a bit of a pain. Unfortunately, possibly more so than other social media (except maybe Twitter), there seems to be a lot of folks trying to game the system and gain followers at any cost. Lots of folks will follow you and then unfollow you once you've followed back, and/or unfollow you if you don't follow back right away. Quite frankly, I'm just not interested in these games. I want to follow folks who produce content that I'm genuinely interested in and that I want to interact with. And I want folks to follow me or like my stuff because they are genuinely interested in seeing and interacting with my work. The tit-for-tat following and liking mentality just doesn't work for me, and seems counterproductive to what should be the true goal of posting your work on social media. I'd rather have two followers that are really interested in my work, than a thousand that couldn't give a damn other than increasing their own followers and likes. Finally, I'm not sure how I feel about the posts not being presented chronologically in home stream. This has some advantages and many disadvantages.

All this being said, I will strive to do a better job updating the blog with new (and better) content, but if you are on Instagram and you are genuinely interested in my work, please give me a follow @whimbel_nature. On my Instagram account you will see more real-time posting, more of my newest work, and more information on my ongoing projects. I won't promise to follow you back, unless you are producing content that I'm genuinely interested in and feel like I will interact with on a regular basis.

Working The Subject

I'm sure I've talked about this before, but it bears repeating. Don't just settle for your first view of your subject and leave it at that. If you really want to increase your chances of making your best photograph (and develop your eye for composition along the way), you've got to work your subject. Photograph from a variety of angles, a variety of heights, zoom in or out (by lens or by foot), and experiment with different lighting, if possible. Always ask yourself what attracted you to the subject in the first place, and if your current composition is best highlighting those elements.

I can't tell you how often I see photographers approach a subject, fire off a couple of shots at eye-level from the same angle they approached the subject, and then move quickly on to the next subject. If I find a good subject, I can work the subject for hours sometimes (particularly if it is a cooperative animal). Let me give you a real-life example.

Recently I had the chance to photograph at Woodlawn Cemetery during a night-time tour event where they illuminate some of the famous or interesting mausoleums with colored lights. One monument that really spoke to me was the grave of Vernon and Irene Castle, famous dancers in their day. Irene had seen a small bronze sculpture of an exhausted ballet dancer folded in on herself entitled "The End Of The Day." When Vernon died in a WWI training accident, Irene had the statue recreated for the grave marker. It has a very powerful emotional impact and I knew I had to find a way to do it justice.

The first evening I photographed the statue, the colored lights were too close to the front of the statue and thus there were harsh highlights and shadows and the Doric colonnade behind the dancer wasn't fully lit. I tried to balance it with light painting, but I was not happy with the results. For sake of brevity, I'm not including any of those images here, but I still explored the monument from a variety of angles, finding shooting up from lying on the ground at about a 45 degree angle from the front of the statue the most successful.

"Broken Dancer No. 1" In my first series of images, I photographed the monument from straight on (parallel with the light source) and only using the colored lights with no additional light painting. I liked how some of the vegetation above the monument was highlighted and how the lit elements stood out starkly against the dark background. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 100, f/8, 13 seconds.

The next day I photographed with my friend Peter Nagy, and we moved the colored lights back a bit, which reduced the harsh shadows/highlights and illuminated the entire monument. In my first series of images, I liked how the lit elements stood out starkly against the black background. I also like how a small portion of the surrounding vegetation caught the light in complimentary colors and form to the monument. So I photographed straight on from in front of the statue at about statue-height, which was kneeling level ("Broken Dancer No. 1").

"Broken Dancer No. 2" In my second series of images, I moved to the left of the statue to capture the rising full super moon in the same frame as the statue. I liked how the combination of the moonlight and direct side lighting from the colored lights outlined the dancer in a dramatic way. I used just a bit of light painting from an angle behind the statue and my camera to just illuminate the inscription on the block and fill in some detail on the dancer's leg. The original light painting was brighter, but I reduced the influence of that layer in Photoshop so I didn't overwhelmed the dramatic lighting of the statue and ruin the dark somber aesthetic of the overall image. An angle from just above eye-level created the most pleasing arrangement of elements.  Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 100, f/8, 6 seconds.

For the next series, I knew I wanted to capture the full super moon in the frame with the monument, so I moved to the left side of the statue ("Broken Dancer No. 2"). Extending my tripod to full height (just over eye-level when standing on tip-toe for me) gave the most pleasing perspective and arrangement of the elements. The exposure was somewhat limited by the need to not blow out the highlights around the moon or in the center of the Doric colonnade. I decided to let detail in the moon itself blow out, as the exposure in the statue was much more important. In a separate capture, I light-painted a bit of the ground and the inscription on the base with a powerful flashlight set to it's lowest power setting. I illuminated from a low angle just behind the statue and my camera. Even then, when I combined the two frames as layers on Lighten mode in Photoshop, I greatly reduced the opacity of the light-painted layer and did some masking to preserve the impact of the dramatic lighting on the statue itself and maintain the overall aesthetic. Also I wanted to keep the viewers eyes mainly to the most important parts of the image, the dancer, the moon, and the colonnade, by keeping them the brightest parts of the image.

"Broken Dancer No. 3" In my final series of images, I photographed from my belly on the ground with my tripod legs spread out flat. With the entire Doric colonnade lit with the colored lights this time, the composition was much more successful. It took several tries to get the light painting balanced correctly. Peter used a lower power flashlight to spot the hands during the entire exposure. I used the low power on my spotlight to illuminate the inscription and briefly sweep the dancers face to bring out a bit of detail. This image was captured in a single frame. Canon 7D, Tokina 11-16mm f/2.8 lens, ISO 100, f/8, 5 seconds.

Finally, I moved back to the low position on my belly to the front-right of the statue that I had liked the previous evening ("Broken Dancer No. 3"). With the colored lights repositioned, the entire length of the Doric colonnade was illuminated and successfully fulfilled the composition I had envisioned the night before with the colonnade sweeping into the corner of the frame. I had Peter use his comparatively weaker flashlight to hold a spotlight on the hands during the entire 5 second exposure. I then used my spotlight on low power (and not for the entire duration) from towards the back of the statue to illuminate the inscription on the block and to briefly sweep across the underside of the dancers face to bring out a little detail and definition. This was all captured in one shot versus how I often light paint with different lighting captured separately and then combined in Photoshop later. Even now as I look at the image though, I think I might dodge the grass a bit more to make sure the viewers eye is definitely drawn to the statue and the colonnade versus the upper right-hand patch of grass.

I hope this helped illustrate the concept of why and how I work a subject. This applies just as much to my nature photography as it does to my night photography. This just happened to be the most recent example I had at hand. I think my favorite image is still "No. 3", which is yours and why?

If you like my night photography, be sure to check out the "Night Works" gallery on my new website at http://digitalart.bestnatureimages.com.

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!

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.

Smallest Wilderness: Gee Creek Wilderness Area

"Early Morning Cascade On Gee Creek" The only trail through the Gee Creek Wilderness ascends along (and across) the tumbling cataracts of Gee Creek.

A quick update from my "Smallest Wilderness" project. For those unfamiliar with this project, I'm trying to visit and photograph all 65 federally designated wilderness area that are under 5000 acres and are not connected to a larger wilderness complex (i.e. just separated by a road). The goal is to produce a book.

Why five thousand acres? Because this was a number tossed around by the original framers of the Wilderness Act and included in the language of the act itself. According to the "Definition of Wilderness" criteria in the 1964 Wilderness Act "(3) has at least five thousand acres of land or is of sufficient size as to make practicable its preservation and use in an unimpaired condition." In fact, the Eastern Wilderness Areas Act of 1975 was enacted because strict adherence to the definition in the original Wilderness Act was leading to little land being designated wilderness in the eastern part of the country.

Today I'm featuring the 2,559 acre Gee Creek Wilderness which I visited in April. One of three small wilderness areas southwest of Great Smoky Mountains National Park in the Cherokee National Forest, Gee Creek packs a lot of punch for a small wilderness area. The less than 2 mile trail into the heart of this wilderness passes through some truly stunning scenery and also has a fabulous concentration of early spring ephemeral wildflowers.

Have you visited a federally designated Wilderness Area? If so, which one(s)? What did you think of it? Leave a message in the comments describing your wilderness experience (big or small).

"Spring Green" Trillium, spring maple leaves, and a katydid nymph along Gee Creek.