Over the course of prepping for tonight's talk (details HERE) about Ohio's macro habitats and the conservation thereof, I dipped deep into the archives and ran across lots of imagery I hadn't looked at for a while or posted. Here's one.

A Common Tern (Sterna hirundo) whirls around on a dime after spotting a school of emerald shiners or some other fishy food source. Terns are consummate aeronauts, and woe to the fishes that they clap eyes on. This bird was over Lake Erie, near Toledo in Lucas County, Ohio, on May 10, 2022.

PHOTO NOTE: Terns are fairly low-hanging fruit, insofar as aerial imagery goes. While they can be swift, hunting terns are pretty predictable in their movements and thus easier to track. Modern gear makes such shots far easier, too. I used my favorite BIF (Birds In Flight) gear for this image: the Canon R5, and Canon's ultralight 400mm DO f/4 II lens, with the Canon 1.4x teleconverter, version II. That equates to 560mm, and the range between 400mm and 560mm is just about perfect for quickly locking on and tracking BIF with a handheld setup. I use back-button focus exclusively, and each of my camera's three back buttons, which are easily accessible with my right thumb, are programmed to different focus settings. I used the all points active/eye recognition program, which is magical in its ability to find eyes and keep the focus precisely on an eye. In animal photography, you always want the eye to be sharp. All I have to do is keep the subject in the field of view and try to be positioned where the light is best.

Settings were f/8 at 1/2500 second. If light permits, I like to be stopped down to f/8 or even more, to get more sharpness throughout the subject, particularly when a blank, non-distractive background is present (like this blue sky). 1/2500 is plenty fast enough to mostly freeze a tern, although hummingbirds and some other subjects might necessitate even faster speeds. The ISO was at 500, but I very rarely set ISO to a specific value when shooting birds. There is no good reason that I can think of to do so. I let the ISO float, but keep a close eye on it, which is easy as the ISO speed displays live time in my viewfinder. If it starts increasing to a point of undesirability, such as ISO 2500 or more, if possible, I rein it in by slowing the shutter speed or opening the lens up more, or a combination thereof.

Photographic/Watercolor conservation art exhibit

 

Watercolor artist Juliet Mullett and I have collaborated on an art exhibit focused on flora, fauna, and conservation. It features 51 pieces: Juliet's amazing watercolor pencil portraits, many of which are new (like the box turtle on the poster above), and my photography. It hangs on the walls of the Grange Insurance Audubon Center, just south of downtown Columbus, Ohio. Registration info is HERE.

While the exhibit went on the walls on November 2, the semi-official kickoff is Saturday, November 16. Doors open at 5:30 pm and I will give a talk about conservation, including many of the subjects of our works, at 7 pm. It's free, and I'd love to see you there. Feel free to pass the word!

Northern "Yellow-shafted" Flicker

 

A male Northern Flicker (Colaptes auratus) comes in for a landing, showing off his golden underwings and tail. This is the former "Yellow-shafted" Flicker that ranges over the eastern two-thirds of North America. Its western counterpart is the "Red-shafted" Flicker, in which the yellow is replaced with bright red. Formerly considered separate species, the two were lumped in 1982 due to extensive hybridization in the zone where the two come into contact. Flickers are spectacular woodpeckers, and fascinating on many levels. This was Roger Tory Peterson's "spark bird"; the species that got him interested in ornithology. I photographed this one yesterday in Cuyahoga Valley National Park, Summit County, Ohio.

Ohio-Erie Canal

 

As always, click the image to enlarge

The long-abandoned Ohio-Erie Canal, in Cuyahoga Valley National Park, on a misty morning. Shauna and I had a great time visiting various spots in Ohio's only national park. This was a place called Beaver Marsh, and not only did we see that namesake animal, but lots of other interesting subjects. Summit County, Ohio, November 2, 2024.

PHOTO NOTE: This was very early in the morning, a bit prior to dawn. Mist was rising from the water in places, and the overall effect was dark and ethereal. We were there primarily for birds, and all I had was my 800mm telephoto on a tripod and a 16-35mm wide-angle and 100mm macro lens in my backpack. The 16-35, even at 35mm, was too wide to show this scene in the way that I wanted. The 800, which I sometimes do use for tight landscapes, was WAY too overkill in this situation. So, I popped on the 100mm macro lens (my body is a Canon R5, and all lenses are Canon). The macro lens can be surprisingly good for fairly tight landscape work, although I often forget to employ it for such purposes. Anyway, I wanted to exclude the rather drab white sky not far above the top of this image (which is completely uncropped), and the ghostly white trunk of the sycamore on the left drove my decision as to where to frame the left side of the composition. I liked the gnarly stump jutting from the water towards the bottom left so that decided where the bottom of the composition would go. The rest fell into place.

But a note about the macro lens, and higher ISO levels. I made this shot at f/16, 1/30 second, and a very high ISO 6400, handheld. I have found that - and sometimes forget - that the combination of the macro lens' "compression" and a relatively high ISO can create a very "painterly" effect to a treed landscape. There was absolutely no wind, and while there may have been a bit of camera shake, the latter was probably minor as the lens has killer image stabilization and I am pretty steady. Yet the leaves, especially, blur like a Monet watercolor - an effect I very much like in some landscapes. I cannot get that effect from my primary go-to landscape lenses, the 16-35mm and 70-200mm.

Had I had the 70-200 with me, I might have unthinkingly grabbed that, probably using about the same 100mm focal range as my macro, but would have put it on the tripod, set the ISO to 100 or 200 at f/13 or f/16, and made the shot. The shutter exposure would have been REALLY long (far too long to handhold) but who cares when it's on a tripod. But I would have ended up with an image that would be crisp throughout, and largely void of the soft blurred foliage of this shot.