Since we moved into our new house about three years ago, we’ve made an effort to attract wildlife, principally in the form of hummingbirds and local and migratory songbirds, by using feeders and planting native and garden flowers and fruit trees and other plants that would attract these creatures. We live in a farming area where the local cloud forest was cut down decades ago, as is the case in most of highland Costa Rica outside of parks and preserves. As a result, we thought we would get a few species that are especially at home in open farmland. We’ve been surprised, however, to find that the altered habitat in the area, which contains tiny pockets of secondary forest and scattered native trees in pastures, is home to some really colorful creatures. We’ve seen sloths nearby, a side-striped palm pit viper on a nearby farm, and even a keel-billed toucan on our banana plants in the backyard one day.

And this year, our bird feeders really took off. We use a couple of simple posts with some holes drilled for replaceable perches and some nails on which to hang bananas and sometimes leftover papaya and oranges too. Since we’re located in a transition zone between higher cloud forest and lower cloud forest transitioning into rainforest, we get highland species and some surprisingly lowland-type species as well. This has meant an amazing diversity of birds at our feeders that rivals or even surpasses many of the lodges I visit regularly for my photo tours (note to self: turn house into eco-hotel next year). Here’s what we see at the feeders on any given day: flame-colored tanager, blue-gray tanager, grayish saltator, buff-throated saltator, rufous-collared sparrow, white-eared ground sparrow, melodious blackbird, Passerini’s tanager (a surprise at our elevation), summer tanager (migrant), Baltimore oriole (migrant), blue-crowned motmot, and emerald toucanet.

With this amazing species list, I’ve been itching to get out and do some photography. I spent September and the first half of October redesigning my Deep Green Photography and Foto Verde Tours websites and finally finished. So, for the past few days I’ve turned my attention to documenting the bird diversity at my front yard fruit feeders. Well, actually I hoped to do more than document; my idea was to experiment with some new techniques for bird photography at feeder setups and hopefully to produce some nice images ranging from classic portraits with a twist to action photos. And I wanted to produce a portfolio with a diversity of image styles in terms of composition, lighting, and backgrounds. Forging one’s own style is important in photography but in my opinion portfolios where every image looks the same, even when each single image is excellent, can get tedious pretty quickly. So, my goal was to produce a dramatic and diverse portfolio that hints at the habitat of my avian subjects while at the same time keeping them in line with my own style as a nature photographer.

So, taking pictures of birds right in your front yard sounds easy, right? You’ve got birds, you’ve got branches, and you’ve got a camera so get out for an hour and shoot! Well, not quite! All told I probably spent a total of 40 hours on this project. Here is the equipment I needed to make the pictures displayed on this page:

–Selected branches from two separate outings to country roads near our house, where I collected fallen branches and some branches from non-native trees planted as fence rows

–Machete and saw to harvest those branches

–Vehicle (plus four-wheel drive on a couple of occasions!)

–Trekker Tall Boy Hunting Blind (ordered online at Cabela’s)

–3 cheap Velbon tripods purchased at Wal-Mart in the US (at about $20 each they work great for flash stands)

–1 Manfrotto Magic Arm

–1 Manfrotto Articulated Arm

–2 Manfrotto super clamps

–2 Manfrotto mini clamps

–2 Impact light stands

––2 Giottos mini-ballheads

–Pruning shears

–Florist wire

–Manfrotto tripod

–Really Right Stuff BH-55 ballhead

–Wimberley Sidekick

–Canon 5D camera body

––Canon 300 mm f2.8 L IS lens

––1.4x teleconverter

–2x teleconverter

–Canon cable release

–2 Canon 430 EX Speedlites

–Canon ST-E2 transmitter

–Photo Trap infrared motion trigger (for some of the flight shots)

–Laser pointer to help align Photo Trap sensors with anticipated path of bird

–Ziploc bags to cover flashes and motion sensors during rain showers

–A stool to sit on while in the blind

–Bananas and plantains for the birds

–Plenty of coffee for the photographer

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Once I had gathered all materials, I needed to plan the types of shots I wanted for each session. For some I wanted a more open branch to catch interactions as the birds would wait their turn at the feeder. For others, I tried to get the birds taking off from the branch that served as a staging perch to the fruit feeder. And for others I wanted more classic portraits so I chose branches and compositions that would show off the birds posing and perching. For the toucanet pictures I made a special outing for some larger branches for this larger bird.

From there it was a question of checking my composition, paying close attention to the backgrounds I wanted (for some I liked the almost smooth green look but sometimes I wanted something with more elements and some almost black tones) and setting up the equipment. Then I proceeded to set up the blind around the camera. I discovered it’s much easier to do this than to set up the blind and then have to move everything if I wasn’t happy with my angle or composition! By the way, the backgrounds in the images are all natural (that is, they are not printed backgrounds as is common in setup photography for hummingbirds). The backgrounds are the out of focus vegetation of trees and shrubs and vines on the farms around our house.

After all the preparation, the trickiest part was handling the varied exposures I would would get. Literally, my exposures could vary by 3 to 5 stops in a question of seconds as things went from harsh sunlight to filtered overcast light (the best) to very low light as clouds moved through and enveloped me in misty, whiteout type conditions. This is the typical weather in the Costa Rican highlands during October. For this and a few other reasons, I chose to incorporate flash into the equation.

First, flash would help me deal with the harsh shadows when the sun was out, give some nice pop and texture to the images with the bright overcast light, and would help me to deal with slow shutter speeds when it got really dark. Second, flash would allow me to control the tone of the background without having to worry as much about the exposure on the bird and branch. If I wanted to underexpose the background for a darker look, the flash would help me out by adding light on the bird and branch in the foreground. Third, flash would allow me to add some creative lighting (sidelight/backlight) for certain shots. And fourth, flash would help in freezing action for the shots where I wanted movement whether in the form of the birds squabbling on the perch or for the flight shots with the Photo Trap. To have the flash perform all of these functions and still look natural, it was imperative that I use the flashes off-camera in order to place them at the angles I wanted for a natural-looking result.

Though I used manual mode on the camera for the image above, I chose to work mostly in TTL on both camera and flashes because of the ever-changing light conditions described above. For most of the shots I was in the blind, so I could have used manual mode and made adjustments to the exposure every time the sun came out and the clouds rolled through but, even though the birds are used to us, I wanted to minimize my movements in the blind. Using TTL allowed me to stay seated and photograph mostly with the cable release rather than moving around too much. And for the Photo Trap shots, manual mode could have resulted in wildly varied results as the lighting conditions changed.

For the flashes, one might think that manual mode (where the power output of the flash is fixed by using the fractional values such as 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, or 1/128 power) would be a good candidate for this work. In this mode the flash puts out the same amount of light whether placed one inch or one mile away from the subject. In this case, the spot where the subject would arrive was known, and the position of the flashes was fixed. Once again, however, the varying natural light conditions made TTL flash (where the flash output would adjust automatically according to the amount of natural light) a better option.

Aside from the elements of the setup design in terms of perches, backgrounds, overall concept for each image, and being able to get the birds where I wanted them, the key challenge was balancing natural light and flash to get the results I wanted. Though I used only natural light on a few images (when the natural light is good, I’m all for it!) the vast majority of the images benefitted from flash. Sometimes I used both flashes placed in front at 45 degree angles. Other times, I placed one of the flashes as a backlight. And when the sun was coming in from one side, I used just one flash as a fill on the opposite side.

As always, post-processing of these images is at a minimum. Some images are cropped to a degree because of the limitations of working from the blind, and on others I cloned out a an extra catchlight in the bird’s eye from one of the flashes. Besides those two things performed on some of the images, the other adjustments were the normal Lightroom image workflow (camera calibration, a bit of noise reduction, output sharpening, etc.).

I hope you enjoy the images and the process behind their making. I will be sharing these techniques and many more on my new small group tours in Costa Rica in June and October 2011. Look for news on those soon on this website. You can click on any of the images in the slideshow gallery at any time to visit the gallery page on my main website, where you can see larger images and full caption info.

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Cheers,

Greg

You can see Judd’s winning image at the Naturescapes forum (no registration required to view) by clicking here.

Cheers,

Greg Basco

Hi, I’m Fabrizio Tessaro, a nature photographer from Canada and three-time Foto Verde Tour client. Much like Greg, I am equally happy shooting any nature subject be it a toucan, a tiny mushroom, an orchid, a monkey, a venemous snake, or a hummingbird in flight. Therefore, determining what gear to bring on a Foto Verde tour can be a challenge (though Greg is very helpful in guiding you through the process!). Do I need a 500mm and that pro body to get great shots? What about wide-angle? And macro? And flash? Even if I had everything in the Nikon catalog, I would still have to make some choices for travel.

I can remember a little over three years ago preparing for my first Costa Rica tour with Greg wondering what gear would be required for a successful photo tour. Back then I arrived with four lenses which included a Sigma 300mm f2.8, an old push pull Nikon 80-200mm f2.8 zoom, a Micro-Nikkor 105mm VR (macro), and a Nikon 18-200mm f3.5-5.6 VR. My D300 body was my main camera with a little D80 as my back up. Toss in a 1.4x tele-extender, a polarizing filter, an SB800 flash with a better beamer, a couple of flash cards and spare batteries, and I was all set. All in all I can say it was a very successful tour and the point I’m really trying to make here is that you don’t need a trunk load of gear to make great images and have a lot of fun doing photography in Costa Rica. Yet after three tours and almost four years later, my acquisition of gear has come to a point where decisions need to be made on what to take when traveling to Costa Rica. With air travel baggage restrictions/limitations in mind and all the other issues one can encounter with air travel, here’s what you would find in my camera bags today when I land in Costa Rica to begin a tour with Greg.

Nikon D700

I love the image quality of this full-frame body and the improvement in high ISO noise performance over my D300 has me reaching for the D700 first, regardless of the lens used or the subject being photographed. I’m just itching to get a hold of a D3s for the high ISO quality and hopefully will have one in my bag for my next tour with Greg.

Nikon D300

Before I acquired the D700, this D300 was my main body. With approximately 1.5x crop factor, I use this body for that little extra reach when needed.

Nikkor AF-S 300 mm f 2.8 VR Lens

This is the longest lens I own and when coupled with a 1.4x teleconverter, I find it to be perfectly adequate for the type of photography I do. The fast f2.8 is an asset for all types of rainforest photography. It is high quality, super sharp ( even at f2.8 ) and the vibration reduction ( VR ) feature helps give that little extra stability that my previous Sigma lacked. I really love this lens. It seems that I always have it set at f2.8 and revel in that wonderful look of the shallow depth of field blur.

Nikkor AF-S 70-200 mm f 2.8 VR

This lens is very sharp on the D300 but find it can be a little soft under some conditions on the D700. Having said that, it has produced some great results including hummingbird work with the 1.4x converter and the D700. Again, the VR feature is always welcome in those low light tropical rainforest conditions you often encounter in Costa Rica.

Nikkor AF-S 24-70 mm f2.8

I just acquired this lens a few months ago and look forward to putting it to use on my next Foto Verde trip. So far I am more than happy with the results it has produced. Used mostly for landscapes, I chose this fast f2.8 for it’s sharpness and versatility for the type of photography I do.

Nikkor AF-S 16-35 mm f4 VR

This is a great lens. The VR feature of this wide-angle zoom is really a non-issue as this lens is mostly used for landscapes, mounted on a tripod and stopped down for maximum depth of field. When coupled to the full frame D700 and set to 16mm, it’s as wide as I have ever needed out in the field.

Nikkor AF-S Micro 105 mm f2.8 VR

This lens is simply superb, and I often use a 1.4x teleconverter with it when photographing venomous snakes for a few extra feet of safety! Incredibly sharp and even though the VR does not necessarily aid in getting sharper images due to  “vibrations”, I find it definitely helps with focusing (by freezing the image in the viewfinder) when you’re really up close.

Nikkor AF-S DX 16-85 mm f3.5-5.6 VR

I always considrer leaving this little lens at home but it seems to get wrapped up with a little extra protection and find it’s way into my checked bag. It’s designed for the 1.5x crop sensor of the D300 and a 67mm Singh-Ray blue/gold polarizer is often used with this lens for some crazy and fun effects.

Nikkor AF-S 1.4x teleconverter

I have used this teleconverter with my 300 f2.8, 70-200 f2.8 and 105mm Micro ( Macro ) with great success.

Manfrotto 055CXPro3 tripod

Even though technically you won’t find this in my camera bag, it is a staple and I never travel anywhere without it. It’s light, stable and simply awesome!

Really Right Stuff BH55 ball head

Incredibly designed and precision machined ball head. I simply love it.

Wimberley Sidekick

The Sidekick is the perfect companion to the 300mm f2.8 when used in conjunction with the BH55 ball head. Composing and panning has never been easier.

Nikon SB800 Speedlight

This flash can be a valuble asset when used with a better beamer flash extender to add a little fill flash to your subjects when trouncing through the rainforests.

Nikon SB600 Speedlights

I have three of these and will take them all if multi-flash setups for hummingbirds and other small rainforest life is our goal. They are very light and easily fit in my checked baggage or even in my carry-on.

Nikon SB-R200 Wireless Speedlight kit

These are two little macro flashes that attach to the lens and can be triggered via the pop up flash of the D300 and D700 or with the SU800 Wireless commander. Perfect for use with the 105mm Micro and when an assistant is not available to maneuver flash heads for you. They are independent of one another and can be easily detached and moved around for more creative lighting.

Nikon SU800 Wireless Commander

This is a great tool when using multi flash set ups. Three groups of unlimited number of flash heads can be completely controlled and wirelessly triggered by the SU800 expanding the possibilities for creativity in multi-flash set ups.

Better Beamer flash extender

Not only does the Better Beamer give you that little extra reach for the often necessary fill flash required for wildlife photography in Costa Rica, but also helps reduce recycling times for your flash.

Filters

Nikon and Singh-Ray circular polarizing filters are always attached to my 16-35mm and 24-70mm as these lenses are primarily used for landscapes. I also carry with me a Lee filter holder for my 2 stop hard edge and 3 stop hard edge Singh-Ray graduated neutral density filters for those challenging landscape exposures. I also carry a Sing-Ray 3 stop neutral density filter and a 67mm Singh-Ray blue/gold polarizer on my 16-85mm DX lens for those times I want to “play” a little.

Image Storage

I generally travel with my laptop, a card reader and an external hard drive for storage. The laptop allows me to review and organize images in preparation for full processing on my Mac when I return from my trip. I also carry a secondary Digital-FOCI Foto Safe for additional backup.

Miscellaneous

A set of Kenko extension tubes sometimes comes in handy to get a little closer with my 300mm. I also carry two cable releases and use them pretty much for all landscape photography. I like to carry 4GB memory cards in my bag rather than larger capacity ones just in case they get damaged and data is lost. I have one in each body and two extras just in case. I also carry three extra camera batteries, lots of rechargeable AA’s for my speeedlights and appropriate chargers. I will also take with me lens and sensor cleaning supplies, camera rain covers, a rain jacket, a small tool kit and some electrical tape for those “creative” repairs out in the field. A pen and small notebook are always handy for some field notes.

Camera Bag

I use a Lowepro CompuTrekker AW back pack as my main bag along with a Tenba Messenger Photo/Laptop bag. Believe it or not, I can fit almost all of the gear listed above in these two bags that can be used as carry on for most air carriers. The Manfrotto, BH55 ball head, Wimberly Sidekick, some odd accessories, extra chargers and the little 16-85mm DX lens end up in my checked baggage.

Check out many of the products described above at our Nikon wishlist.

You can see more of Fabrizio’s photography here.

If you’ve looked at the Canon wishlist linked to from the Foto Verde Tours “Suggested Gear” page you know that there is a lot of stuff on there! Well, you can’t have everything, and you can’t always have the latest and greatest. So, since the wishlist has everything I want, I thought I’d share with you what I actually have and typically take with me for a week or more of shooting out in the field here in Costa Rica.

You’ll notice that my camera bodies are a bit old. I’ve decided to skip a generation or two to see what comes out in 2011. I’m not enamored of any of the Canon 1.6 crop factor bodies that have come out since the 40D in terms of the image quality at high ISOs, which is really important for a full-time rainforest shooter like me. And though I love the 5DII, I didn’t buy it immediately and since I’ve been thinking more and more recently about upgrading there are rumors in the air about a 5DIII. So, I’ll wait and see if something better comes out (if they improved the autofocus and frame rate, that would be icing on the cake).

My longest lens is the 300 mm f2.8. I’m not primarily a bird photographer, focusing recently instead on more environmental portraits with wider compositions. So, for me, the 300 f2.8 is a fantastic lens — super sharp wide open, light enough to handhold, and gives you that dreamy f2.8 look that I love. If I were a bird photographer, I would want the 500 mm f4 (see Doug Brown’s gear page here for a bird photographer’s Costa Rica equipment list). If I were to win the lottery, however, I would go immediately for the new 400 mm f2.8. The longer reach would be great, and Canon has cut the weight of that lens significantly. I would pair that with the new 70-300 mm L zoom lens, which I think would be great for lots of general wildlife, semi-macro, and landscape shooting here.

But, enough of the lottery talk, here’s what I take out currently. All current products, except where noted, are in my Canon wishlist, which you can see by clicking here.

Canon 5D (the original)

A great body with fantastic full-frame image quality. But due for an upgrade to the latest manifestation.

Canon 40D

Still a very capable camera. If Canon comes out with a new version of the 7D with better high ISO noise performance, I’ll be interested to upgrade.

Canon 300 mm f2.8 L IS USM Lens

Legendary sharpness and just a fantastic all-around performer. Results with a 1.4x teleconverter are still outstanding, and publishable quality images with a 2x teleconverter are no problem with good technique. There’s a new version coming out with the latest and greatest IS. If I were buying today, I would go for that.

Canon 100 mm f2.8 Macro Lens

The new IS version is nice but the original version (the one with the gold ring) is cheaper and very sharp.

Canon 50 mm f1.8II Lens

This is the cheapest lens (I think) in the Canon lineup but it’s actually quite sharp from f2.2 on. If you really do a lot of street photography, you’ll want a 50 mm f1.4 or f1.2 lens but for a nature shooter, this small fast lens is nice for the occasional snapshot. I also use it for night photography (the fast aperture is nice) and with a 25 mm extension tube for super closeup photography on occasion.

Canon 17-40 mm f4 L Zoom Lens

There are other options in the Canon lineup featuring f2.8 and/or image stabilization, but I didn’t feel that paying extra for these features was necessary for the nature photographer. For landscapes, you’re stopping down the lens to get good depth of field, and you’re working from a tripod. Plus some of the landscape photographers whose work I most enjoy (e.g., Ian Plant, Jose Benito Rodriguez) use this lens regularly.

Tokina 28-70 f2.8 and Tokina 80-200 f2.8 Zoom Lenses

I bought these some time ago, and they are sharp and built like tanks. The autofocus is slow and noisy, and they’re heavy and they lack IS, but they do the job. I have no plans to upgrade the 28-70 mm lens as it’s not a focal range I use that frequently. At the top of my gear list though is replacing the 80-200 f2.8 in favor of either the Canon 70-200 f4 L IS zoom or the new Canon70-300 f4-5.6 L IS zoom. I’ll probably go with the latter as initial reports suggest it super sharp, perhaps even a bit sharper than the 70-200s in the Canon lineup (and those are sharp zooms). I’m not crazy about the floating f-stop but the extra reach out to 300 mm is very attractive to me.

1.4x and 2x Teleconverters

Teleconverters work quite well on a sharp, fast prime lens such as my 300 mm f2.8.

Canon 25 mm Extension Tube

I bought this years ago. It’s a great way to obtain a closer minimum focusing distance for your lenses. I use it regularly with my 300 mm f2.8 lens for flowers and smaller wildlife such as lizards, snakes, and hummingbirds. When I bought this extension tube, there was lots of talk about possible compatibility problems between camera bodies and third party lenses. So, I invested in the one Canon tube thinking I would avoid any headaches. If I were buying today, I would go for the Kenko set, which bring three tubes of different lengths.

Canon RS-80N3 Cable Release

You’ve got to have a cable release for landscape work in Costa Rica, and it’s also helpful at times for macro and even for bird photography on occasion. The fancier timer release is nice but I find it easy enough to check my watch for now during longer exposures (past 30 seconds).

Canon 550 EX Speedlite

Shouldn’t I have a 580 EX Speedlite? Sure, but until my 550 EX dies, I’ll stick with it.

Canon 430 EX Speedlites

I love for off-camera flash photography. If a trip I’m leading involves multiple-flash setups for hummingbirds, I’ll bring along four of these. If not I would bring along just two.

Canon ST-E2 Transmitter

It’s not cheap, it doesn’t have a lot of functions, it uses a strange battery, and it’s another piece of gear to carry around but I find it to much more reliable, flexible, and efficient than using a 550 EX (or 580 EX) as master or than the built-in flash on the 7D as master.

Canon MT-24 EX Macro Twin Lite Flash

This is a great unit for macro work. Though a bit more expensive, I recommend it over the ring flash. The twin flash, with two heads that can be moved independently, offers many more lighting possibilities.

Softboxes/diffusers

I use a number of different softboxes and diffusers, even on the macro flash, for work with flash. You can see a few of these on the wishlist.

Better Beamer

This is a must have for Costa Rica. Fill-flash is a necessary tool for wildlife photography here, and the Better Beamer concentrates the angle of coverage of your flash to bring it in line with the angle of view of a telephoto lens. Your flash gets a bit of extra reach and works more efficiently, leading to reduced recycling times.

Power EX Batteries and Charger

I use flash quite a bit so I bought the Power Ex 8 battery rapid charger, along with lots of batteries, from the store at www.naturescapes.net. Whether you need an 8 battery charger or not, I do recommend rechargeable AA batteries (and a charger) for your flash.

Filters

I have circular polarizing filters on all of the lenses I use for landscape as I use those lenses with polarizers more often than without them. I also have along a Cokin filter holder for use with my Singh-Ray three stop graduated neutral density filter. One special filter I use on occasion is the Singh-Ray blue/gold polarizer, which can give some really interesting effects when used in the right situation.

Manfrotto 055MF3 tripod

I know — I’m a professional nature photographer so shouldn’t I be using a Gitzo tripod? Gitzo products are great but I simply am not a fan of twist locks. I always find myself getting excited and turning the knobs the wrong way when a resplendent quetzal is in front of me? Besides the flip style leg locks, this tripod is lightweight, stable, and versatile with a removable center column for flat on the ground shooting.

Really Right Stuff BH55 ball head

I’ve tried lots of heads but I finally took the advice of other trusted photographers and bought the Really Right Stuff head. I don’t plan on ever having to buy a new head.

Wimberley Sidekick

The Sidekick is the perfect companion to the 300mm f2.8 when used in conjunction with the BH55 ball head. Composing and panning has never been easier.

Miscellaneous

I also take along some sensor cleaning supplies, rain covers, a small umbrella, a set of small screwdriver, allen wrenches, extra camera batteries.

Image Backup

For trips longer than a couple of days, I’ll take along my Acer laptop with a card reader and a Western Digital drive for a double backup system.

Gura Gear Kiboko Bag

Since Jon Fuller of Moab Photo Tours in Utah brought me one of these, it’s become my main bag. I absolutely love it, and most of the gear above (save for the computer stuff and some odds and ends) fits right in there. B&H doesn’t carry it but the store at www.naturescapes.net does.

Check out the products described above at my Canon wishlist.

You can see more of Greg’s photography here.