Overview

Hello @oljon! I love to photograph birds. I could probably write a whole book with tips about this genre. There are countless bird photographers more talented than I am, but in terms of the time I have put into the endeavor, I have definitely learned a lot that I love to share with others. A couple years ago I did an online bird photography course for the Cornell Lab of Ornithology, and you can find that there if you're interested. Bird photography I venture to say, may be the most challenging of all photography pursuits. It can be devilishly hard and frustrating, but it's also hugely gratifying when you're able to come up with a good shot. You must be willing to be persistent and patient. And above all--know your subject. How to find it, how to read it (so that you can predict behavior--and also avoid some behaviors!), how to photograph it. Wonderful web sites like Cornell Lab of Ornithology's All About Birds (and, even better, Birds of the World, which is by subscription) give detailed information that can help you tremendously. Here below I'm going to list a few random, basic tips. You can also find some good resources on the topic at the Audubon web site, which has a whole section devoted to bird photography. That is here: https://www.audubon.org/photography Long lenses are important, whether you're working with an all-in-one kit, a dslr or a mirrorless. You really need at least 300mm. 500mm or 600mm is best. Along with teleconverters when you need them. The farther you can stay away, the less you're likely to stress the bird, and the more likely you will be able to get the shot. That is, unless you live in Florida, where birds are silly tame. In terms of lighting, your best bet is to position yourself between the sun and the bird, with your shadow pointing at your subject. That being said, some of the most artistic shots are made by side light and back light. Be ready to try all angles. The most pleasing light is at the edges of the day: at sunrise and within an hour or two later; and then again a couple hours before sunset and onward. If you have a bright overcast day though, you can shoot all day. Focus on the eye, always, and get it sharp as best you can. The viewer wants to connect with the bird or other animal through the eye. This is key. Try to be at the level of the bird as best you can. If it's a shorebird or wading bird, get as low as possible! Use aperture mode or manual mode. Shutter mode works too. Manual mode is best for birds in flight as your exposure will remain the same no matter how your background changes as the bird moves. Use continuous shooting mode, shoot at the highest frames per second your camera allows, and always be thinking of having your shutter speed up as high as you can manage, given the light. I like to start out at 1/1000 with birds, and will often go up to 1/3200 or 1/4000 for flying birds. A big mistake I see a lot of people make is simply not using a high enough shutter speed. Avoid centering the bird in the frame; use the rule of thirds and leave space in front of the bird to walk or fly into. Give your bird room to breathe. Pay attention to background distractions; reposition yourself, and/or use a wide aperture like f/4 or f/5.6 to blur the background. Use your vehicle as a mobile blind; it’s less intrusive to birds. They are more comfortable with you in a car than they are with you on foot. If you have a silent shutter, use it. Birds don't like loud shutters. For more help, see this article I wrote not long ago on how to photograph warblers, for Living Bird magazine: How To Photograph Fidgety Warblers I hope this can be helpful. Thank you for your question!

@avmil! I'm glad you read the article about photo game farms. The writer did a great job with giving a very detailed history and explanation of why these places are antithetical to nature photography, and are abysmal facilities for captive wildlife. For those who missed it, it's here: https://www.rollingstone.com/culture/culture-features/photography-game-farms-exploiting-wild-animals-1235002275/ Photography game farms are captive wildlife facilities where genetically-wild animals like wolves, snow leopards, lynxes, bears, mountain lions, foxes, coyotes, badgers, bobcats, and more, are kept in small concrete-floored cells, to be brought out to perform for treats in front of paying photographers, filmmakers, and illustrators, in natural-looking settings. Most of the hundreds of animals that live at these places, never get out even for a few minutes like the performers do. They are there simply to breed, to keep pumping out babies to be sold within weeks of birth, to exotic pet owners, roadside zoos, exotic animal auctions, and more. Some of the babies are kept though, at least for a while, to be used for baby animal photo workshops, featuring, for instance, bobcat kittens posed perfectly in the mouth of a log. People travel from all over the world to these places, to get their shots of elusive animals. Often they share on social, and don't even divulge the animals are captive. The photos permeate social media, esp Instagram. You have tigers running directly at the camera, mountain lions leaping in broad daylight from one boulder to another, etc. They are used in ads, calendars, books, greeting cards, and heavily dominate in all stock agencies. It's a desecration to the field of nature photography, and it's, more than anything, an act of absolute cruelty to these animals, to support these places. (shall I tell you how I really feel? ha). I'm currently a defendant in a lawsuit, sued for "tortious interference" because I sounded the alarm about these places, having gathered hundreds of documents through FOIA requests over the years, to determine what happened to the baby animals at these places once they grew up--and what the living conditions are like for all the animals there. What I learned horrified me and set me on this journey. I shared what I had learned, on social media and in articles--and I shared only the truth. Juried trial is next summer, in Montana. Stay tuned.... PS we can each be better about the places we visit for captive photography. Make sure at the very least the zoo or other facility you are visiting is AZA-accredited. Did you know roadside zoos can call themselves anything they want--even a "sanctuary" or a "refuge" when they are anything but? The best choices are true sanctuaries, and there is no better guide to those than the Global Federation of Animal Sanctuaries. Find a true sanctuary near you and support it!

Hello nodav! Ethical considerations must always play into our approach to wildlife and wildlife photography. It's as important as the settings on our camera--maybe even more so. Wildlife has never been so threatened. We are in the midst of the sixth great extinction. We've lost 3 billion birds since the 1970's (essentially 1 out of 4 birds, population-wise). And we've lost half our wildlife in general, over the last 40 years. Wild mammals, for instance, make up just 4% of the mammal kingdom worldwide--the rest are humans and livestock. Wild animals are running out of habitat, because there are so many of us humans—as well as facing other huge challenges, like climate change. Sorry for the grim figures, but it brings home how vital it is that we have to be very careful and conscientious when we are out there. Why would we, as nature photographers, want to endanger the very thing that we're excited to photograph, and to celebrate? For me, ethics really comes from empathy. I think we have to first understand the challenges for wild creatures. We have to know a bit about their natural history, and what the threats are to their survival. How do we not introduce additional threats by our actions? There is so much great information out there about animals of all kinds, and their lives and behaviors. You can even look up online the alarm posture of any animal, and find images showing that. Knowing what signs to look out for are key with any animal. What do they look like when they are scared, or trying to look threatening? The truth is, anytime we are out there, we are disturbing wildlife. I do it all the time. But I am hopefully growing and learning all the time, and doing better each time I am out there. Our field practices must reflect great care and respect. The great news is--that's how we get the best shots! When an animal realizes we are not a threat, or maybe doesn't even know we're there. We have so many great tools to use now, from silent shutters, to high-end photography blinds, to camera traps, to even just shooting from our cars. It's not so much about ethical “rules” people need to follow--ethics, as some argue, can be a subjective thing. And there are so many gray areas when it comes to ethics. Every single situation is different. What we can look to are best practices, that is, strategies for being near an animal based on an understanding of its behavior and ecology. At Audubon's request, I worked with birder/writer Kenn Kaufman and I a few years ago, developed a list of best practices for photography of birds, and you can see that here: https://www.audubon.org/get-outside/audubons-guide-ethical-bird-photography It's been refined and added to over the years, and includes filmmaking now too. A basic guideline/best practice is to never feed predatory animals to get the shot, from owls to foxes to bears. Doing so changes their behavior in ways that can be fatal to them. I’ve seen it over and over again, and it’s tragic. No photo is more important than the life of an animal. As I often say, these are just about photos to us—to a wild animal, every single moment is about survival. I think the best thing we can do for any wild animal is to keep it wild. Don’t tame it for a photo, or compel it to perform for you. Once animals lose their fear of humans, they are vulnerable to so many potential problems. Keep it wild must be our motto. So this is a longwinded answer and I hope it helps you. Know that Audubon has a whole section of their web site devoted to ethical issues around photography, and you can see that section here: https://www.audubon.org/section/ethics Definitely a lot of good resources there. Again—as long as act from a place of empathy for our subjects, and build that into our fieldcraft, we are on the right path!

Absolutely! So glad to hear it was helpful!

That's a great question, jajo. And I really appreciate that you are able to see emotion and connection in my images. I do feel like photography is how is my love for animals, and for nature, is made visible. I am grateful all the time that I found this vehicle, because it allows me to celebrate wildlife, and to give others a look into that world they might not otherwise have. I think anytime as photographers, we feel a strong connection to something we're photographing--whether it's a flower, or a person, or an abstract pattern, or a bird--pay attention to that. Follow that draw. If you find that something really lights you up inside, pursue it for all you're worth. Get the technical side down and then get into a creative flow. The viewer will inevitably feel that passion through your image. I really believe that. Thanks for the question!

Along these lines... I read the Rolling Stones article about game farms. Could you talk about that a bit?

Hello Melissa! Thanks so much for sharing your knowledge with us, it means a lot. Your photographs often convey emotion and a connection to nature. How do you evoke such feelings through your images?

Do you have any tips for photographing birds?

Hey Melissa! What are some ethical considerations for wildlife photography?

This is so helpful, thank you for taking the time to reply!!

That is a great question. A couple years ago I wrote an article for BBC Wildlife magazine, examining the question of why there weren't more woman wildlife photographers at the professional level . If people are interested they can see it here. Much of the article, as I read it now, still rings true, but what's different is that even just in the last couple of years, I think there’s been a sea change. I feel that women are rapidly being better represented in the field of conservation storytelling. At least from where I sit, though that may be partly due to the fact that I know so many women in the field, and so it seems they should be as visible to everyone as they are to me! I think the need for parity has really bubbled up to the surface, and I do think many photo editors, for instance, now actively seek out female conservation photographers. I think it's finally become plain that women can do the job at least as well as men. But there is still a lot of work to be done to level the playing field. As women photographers, we can always do whatever we can to lift other women photographers up--if we can't do a job, for instance--suggest another woman you know! There are so many ways we can help elevate each other. I will say if we are moms at home, it’s a bit tougher, at least to go on the road for assignments or workshop-leading. I have one child, a daughter who’s just about to head to college, and I made a promise to her when I started ramping up as a photographer about 10 years ago, that I would never be gone longer than 2 weeks from home. I kept that promise. But it definitely kept me out of the running for the longer periods of time needed to tell in-depth stories. There’s no getting around the fact that as mothers, we feel more ambivalent about leaving home for periods of time than fathers. (I hope I don’t offend any fathers by making that generalization—it’s simply how we’re biologically wired!) If you are a mother and travel is not an option, it will of course become even more important to find opportunities locally to tell conservation stories. But you can do it. I have wanted very much to try to show younger women that it is possible to make your own way in this profession—having a family while also pursuing your passion. I would never say it’s easy-- it’s a very difficult balancing act and you have to have a supportive family, the ability to say no to a fair amount, and the grace to accept that you’re not as free an agent as some, and be ok with that. What can give you a leg up (and not just as a woman, but for anyone), is to diversify as best you can. As well as honing your photography craft, strive to be good at writing, speaking, teaching, selling your work as art, and marketing yourself. Try every avenue you can think of in pursuit of your goal. You are limited only by your imagination. Hope that helps!

Hi etgar! I've developed relationships across a number of local conservation and nature-oriented organizations here In Ithaca, NY. I would say the most fruitful one has been with the Cornell Lab of Ornithology, which is located about 20 minutes from me. I worked there years ago (though on elephants, not birds!), and then again when they hired me to teach an online bird photography course. I have come to know a lot of scientists that work there. I try to keep up with at least some of the projects the Lab is working on. I also keep abreast of what's going on in the birding community here by subscribing to the local birding mailing list. So I am able to kind of keep my finger on the pulse of what's going on locally as well as beyond, through that connection. I'm fortunate to be able to connect readily with people there if I have a story pitch, or want more info about something I want to dive into. It's a great time to be reaching out to scientists to help visually tell the story of their work--as I think many scientists now are realizing that they need a bridge to the public, and images can provide that. There's been such a gap between public understanding and scientific knowledge. As photographers we can translate their work into something people can readily understand, no matter what language they speak. Also, for years I've volunteered my time at a local wildlife hospital, visiting about once a week to help tell the story of their wild patients. I make my photos available to the hospital for fundraising and educational purposes. In return I get so much--learning about issues important to me, such as what are the things we humans do in our daily lives that injure, sicken, and kill wildlife--and how do we ameliorate that! And of course, adding to my catalog. I photograph animals both at the hospital--and, if everything works out--at their release back into the wild. And I am able to license some of these images to publications. Sometimes volunteering for researchers or nonprofits in your area is the quickest way in. Find someone working on a conservation project in your community that interests you. Contact that person or organization. Ask if you can tag along and take pics, and you will offer the images to them for their use. Again, it' s about building relationships and showing that you are interested, and willing to do the work and to make it count. I hope that is helpful. Thanks a lot for your question!

Hello Melissa! What advice would you give to women trying to get into the field of conservation photography?

I'd like to know how you approach collaborating with scientists, conservationists, and local communities in your photography projects?

Thank you, Susan! For your very kind words. And for adding that quote by Sartore, which has really become such an iconic and defining statement (it was a butterfly on a flower--but simply the flower works too!). It's such a great visual that instantly drives home the nature of conservation photography.

Mmmm, I like it. Let's see....I think I would have to say, a couple packets of Ben's Insect Repellent Wipes. I seem to attract biting insects wherever I go...😆 😩 so I have learned to have these handy. Often just in a pants pocket.

Melissa - thanks so much for doing this weeklong forum. You are such an inspiration and an important part of iLCP. To add to this discussion, iLCP Founding Fellow Joel Sartore has said (maybe not exact working), "Let's look at a photo of a beautiful flower in a field; that is a nature photograph; now look at another photo of that same beautiful flower in a field but with a bulldozer getting ready to decimate the landscape - that is a conservation photograph".

you are welcome!

This is great information, thank you! @Melissa Groo

Hello EJohnson! Thanks for your questions! Gosh I could write pages in response to these, but will try to be less longwinded than usual. (-: If nothing else, I have learned that any success in this field relies on building relationships. Relationships with other like-minded photographers, with photo editors at both publications and organizations, and with conservationists, scientists, and writers. I cannot overstate the importance of that. For hardcore introverts like me, it sometimes can be challenging, but I know that I will go nowhere if I don't have allies and partners across a broad range of fields. Having those relationships opens up possibilities for stories you could pitch, for assignments you could be given, for referrals. I am also very aware of how important integrity and ethics is to this arena. In photography in general, your reputation is everything. Once you have lost the trust of your audience, or of your business partners or fellow photographers, you are kind of sunk. It's important to be forthcoming and transparent in captioning, conscientious and careful with your field work, and reliable in all respects. Because I have worked hard to build relationships over a decade of so as a conservation photographer, I am fortunate to get approached from time to time to do assignments. But I also take the initiative to approach publications with story ideas. And to approach writers and biologists as well. Working with others lends power to your pitch. And never be afraid to be bold and send out pitches. What is the worst that can happen? In terms of story ideas, I light on these by tuning into what I am really passionate about: e.g., advocating for threatened and endangered species and their habitats; promoting better care of our local ecological communities; and enhancing appreciation of any being that is misunderstood and mistreated, esp predators. If your heart is really in a story, it becomes much easier to sell it, and to do a great job. Finding local stories is the best, because then you can really dive in deeply. What do I hope to achieve? I hope to open people's eyes to the multi-species communities we all live among, but often don't notice or care for, but which are vital to our own well-being, in a number of ways. I hope to impact legislation that positively impacts conservation , directly or indirectly. And I hope to have helped appreciation for and preservation of at least some wild beings and the places they require in order to continue living. I hope this at least in part answers your questions! Let me know if not and I can try again!

Hello Melissa! Thanks for taking the time to answer questions here. Could you describe your approach to conservation photography? What do you hope to achieve through your work?

Hi Melissa! I'd love to know what's the most important non-photography related item that you keep in your bag?

Thanks for that Miki--I think you are wanting to know how we can each help make our windows safe for birds? There are so many different methods we can use to show birds there is a glass surface there. American Bird Conservancy is really the leader in this--some of the products they recommend are at this link: https://abcbirds.org/wp-content/uploads/2016/09/ABC-Collisions-Flyer-2016.pdf Acopian Bird Savers is particularly effective. It's a wonderful way we can each contribute to the conservation of birds. Every year almost one billion birds collide with glass in the US! Most of these happen at homes and buildings shorter than 4 stories tall. Audubon also has a good list of resources here: https://www.audubon.org/news/simple-solutions-prevent-collisions Thanks for caring, Miki! And for your question.

To confirm - are you asking how to protect birds from running into windows?

Thanks for explaining this, Jessica!