Migrating to Capture One Pro

In the time since I penned Goodbye Lightroom, I first evaluated and then started to use Capture One Pro in a somewhat prolonged migration from Lightroom to Capture One.

During this transition I made notes covering Capture One’s strengths, decisions I had to make to move my photographs from Lightroom’s library to Capture One’s catalog. My hope with the notes was they’d be a good source of information for others like me who want to switch away from Lightroom.

Having drafted those notes into a post and almost hitting publish I realized they would be far more useful on a platform such as Photograhy Life. That post now sits here.

Goodbye Lightroom?

Lightroom 6, the last free-of-subscription version, was released in early 2015, over two and half years ago. Its age shows and an update to it has been long overdue. An update came earlier this month, but not one I was hoping for.

Lightroom 6 is discontinued. Its successors are Lightroom CC and Lightroom Classic CC. Neither is offered as a standalone version, which is something I prefer for a number of reasons. So naturally, my first instinct was to stick with Lightroom 6 for the next year or more. After all, what ain’t broken need no fixing. But upon further thinking, this option doesn’t seem too feasible.

Apple’s High Sierra came out last month with several under-the-hood changes – a new file-system, a new API, Metal 2, used across the system and more. These made the upgrade to High Sierra a more dangerous affair than usual. With such fundamental, platform level changes in the operating system, complex apps usually need some work before they become rock-stable. I held off upgrading my machine to the point-zero release, instead opting to wait for the point-one or even the point-two release.

In light of Adobe’s announcement, this means when I eventually upgrade to High Sierra, my installation of Lightroom 6 could potentially be rendered unstable or at worst, unusable. My plan is to stick with my setup for now and for the next few months lay the groundwork to make my transition as easily as possible.

  1. Trim my library – Over the years, my library has bloated with unused, out-of-focus and in general low-quality images, mostly because I’m a pack rat loathe to deleting stuff. Whichever software I opt for, a smaller library will be easier to migrate and manage.

  2. Try out software – The next few months, I’m going to be installing trial versions of as many software as I can – Capture One Pro, RawTherapee. I’ll copy over portions of my library into each and see how well my workflow suits them. Is the software capable? Is it performant enough? Do outputs look good? How easy is it to manage a catalog? These are some aspects I want to explore.

  3. Research, research, research – Adobe’s roadmap has left a lot of photographers unhappy and several are exploring other options like me. I expect several posts and blogs reviewing Lightroom alternatives and describing their migration strategies. These will help.

Hopefully by the time macOS 10.13.1 or 10.13.2 is out I’ll have decided my next photography software.

Assateague and Chincoteague

We didn’t have too much trouble spotting the famous wild horses and ponies of Assateague and Chincoteague. Immediately upon entering Assateague State Park, we came across a group grazing beside the road. Long unkempt manes add a dash of careless aloofness to their beauty.

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Although Assateague and Chincoteague are famous for these large (controlled) population of wild horses and ponies. I found both island to be a bird photographers dream, despite having visited in not the ideal season. Assateague’s and Chincoteague’s marshes support vast populations of cranes, herons and other wading birds; their proximity to the ocean brings gulls and terns to the refuge; the woods in the area house warblers, thrushes and other small birds; the abundant fish attract raptors like ospreys and eagles. Unsuprisingly we got a taste of them all.

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A Great Egret making a landing

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Another Great Egret on the hunt

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Common Terns abound

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An Eastern Kingbird

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A Pine Warbler

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A Yellow-throated Warbler

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A Great-blue Heron lifting off

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Common Tern at the Chincoteague Pier

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A Double-crested Cormorant basking in the sun

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The beach at Tom’s Cove is teeming with Sanderlings, scurrying about

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This Brown Thrasher was very well camouflaged, a hard bird to spot!

Both wildlife refuges support their avian inhabitants with an abundance of seafood. Everywhere we looked a bird was about to dine.

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For a Common Tern, a catch almost always ends with a chase

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A rare sight, a solitary Common Tern with its lunch

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This egret spent a few minutes violently shaking the fish before eating it…

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The fish wasn’t an easy swallow

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A Herring Gull

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Yet another gull (another Herring?) with a crab for its lunch

The best photographs however came in the wee morning hours at dawn on the last day of our vacation. We woke up well before sunrise and drove to Tom’s Cove, a south-east facing beach, in Chincoteague Wildlife Refuge.

I photographed the rising sun with the only lens I had, a 200-500mm telephoto. The sun’s shimmering outline, its flattened reflection on the sea below and the moment of capture – all make it work beautifully for me.

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Great Egrets are magnificent birds. The warm morning sunlight adds to their magnificence.

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This light morning mist over the swamps and marshes of Chincoteague made for some beautiful scenes. Soft wispy lighting like this is a photographers delight.

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Horses in the mist

Photography & Exposure – How I Expose

For a long time DSLRs have been sophisticated enough to cleverly expose the scene in front of them. Essentially all DSLRs start by metering the subject, which means they use the in-built lightmeter to determine the intensity of light reflected off or emitted by the subject. The DSLR next calculates the different possible exposures which would bring the subjects intensity to 18% grey.1 Modern DSLRs use sophisticated algorithms to figure out what the subject is – a group of faces, a close-up portrait, a landscape etc. This information helps it fine tune the exposure. For instance if the camera detects one or more faces in the frame, it tends to open the aperture as wide as possible to give a shallow depth of field. Similarly, if the camera detects a landscape shot, it closes the aperture to give as wide a depth of field as possible.

More times than not, this automatic exposure works well. So why should one manually expose? For me there are two motivations – one technical and the other philosophical.

The technical one first. When the photographer doesn’t manually expose, he lets the camera choose the subject. He also lets the camera decide the intensity of the subject, which it slavishly does (remember, the sole driving factor for all automatic exposures is that the intensity of subject should be 18% grey). This transfers creativity from photography to post-processing. During post-processing it’s just not possible to freeze motion, or add motion blur to a background, or simulate a shallow/deep depth-of-fields well. Adjusting the exposure, contrast, editing curves etc. are all the adjustments that can be done to some degree. So, depending on how close the camera exposed the scene to the photographers vision, this post-processing effort could be anything from an impossible feat to zero effort. The photographer should always decide his exposure.

Now for the philosophical motivation – these days DSLRs don’t enjoy the automatic image quality advantage over other camera systems (mirrorless, smartphones etc.) that they used to a few years back. The raison d’etre for a DSLRs existence is the quick manual control it affords to the photographer. On a prosumer DSLR body, all controls are just a fingertip away, allowing the photographer complete and immediate control over all aspects of exposure. If manual exposure is not your cup of tea, why go for a DSLR?


Exposure Modes

Exposure is determined by the Aperture and the Shutter Speed. Exposure, along with ISO speed, or the sensors sensitivity, contribute towards the overall look of the captured image.2 All DSLRs have (at least) 4 modes of exposure control, each mode giving the photographer varying degrees of flexibility and ease to adjust the exposure.3

Programmed Auto(P): The camera evaluates and meters the scene, and comes up with a list of possible, and usually equivalent, exposure values. For example, these are all equivalent exposures:
+ 1/60s, f/5.6 @ ISO 100
+ 1/120s, f/4 @ ISO 100
+ 1/30s, f/8 @ ISO 100
The photographer can step through these exposures and pick the one that gives the best look. For a beginner this mode is useful to get a feel for different exposures and how they affect the final image.

Aperture Priority(A): The photographer chooses an aperture. The camera selects an appropriate shutter speed. This mode is useful when photographing static subjects, where control over the depth of field (deep for landscape vs shallow for portraits) is critical.

Shutter Priority(S): The photographer chooses a shutter speed. The camera selects the right aperture. This mode is useful for photographing sports or other fast moving action where creative control over the look of motion (frozen vs a blur) is important.

Manual(M): This is self-explanatory, the photographer picks both the aperture and the shutter speed.

In all modes, the photographer can either specify the ISO or set it to ‘Auto-ISO’, in which case the camera determines the ISO too.

I started dabbling in photography with a simple point & shoot camera. It gave no direct control over the exposure, one had to play around with different profiles (Overcast/Landscape/Profile/Night etc.) to affect exposure. So, when a friend brought along his DSLR for a vacation and I got to play around with it, I was blinded by power! Its buttons and dials allowed me to change the exposure without taking my eye off the viewfinder, just by using muscle memory.

Pretty soon I had bought my first DSLR, a Nikon D3100. I jumped to manual mode. But after a few outings with it, I realized Aperture priority mode worked better for me. I was getting more and better photographs that way. In retrospect, I can see why that was the case. The D3100 has only one command dial. With it you can change only one parameter – either Aperture or Shutter Speed. To control both quickly meant using one of the external buttons to overrride the command dial. But I was using one already to shift the ISO. So Aperture-priority it was.

A few years later, I added the excellent Fujifilm X100S to my kitty. It is a beautiful small mirror-less camera, with mechanical dials and aperture rings. So none of my motor skills with the DSLR adapted to it. Nevertheless, I got pretty adept at handling it quickly. One of the features I liked most about the X100S is it’s auto-ISO mode, which was more sophisticated than that on the Nikon. Basically, you set a range of acceptable ISO’s and depending upon the aperture and shutter speed that you have set, the camera picks an appropriate ISO. This approach worked well.

I now use a Nikon D500 almost exclusively, with a Nikon D7200 playing the role of a backup body. Both are in the professional to prosumer end of Nikons’ range of DX cameras and have two command dials. This allows me to effectively work in manual mode. Sometimes, depending upon the situation, I use auto-ISO to help me.


For the most part my photography has been restricted to landscapes and events. My method to expose for these underwent considerable change over the years before I settled down on something that works very well for me now.

However, over the past year or so, I’ve been getting more and more interested in bird photography. It is here that my methods are still quite raw and see experimentation.

To quickly switch between these two ‘modes’ I use custom banks on my D500 and the U1/U2 settings on the D7200. The first mode, for static subjects, is fully manual. Both cameras give me quick access to shutter-speed, aperture and ISO without having to take my off the viewfinder. The second mode, for bird photography and other action oriented photography, differs from the first only in that auto-ISO is ON.

Landscape Photography

Over the years my method to expose has evolved. Initially it used to be a simple feedback loop – ‘guess’ the appropriate exposure, take a photo, look at the preview, adjust the exposure, take another photo, check the preview and on and on till the preview looks good. I ignored the lightmeter.

Since this was an iterative process, I ended up taking several photographs with slightly different exposure settings. Besides being time consuming during photography, it also meant greater effort during post-processing – to import and triage. Nevertheless, it was a good learning experience – there is no substitute for experimenting with settings. Playing around with different settings and seeing for myself how they affected the image in the back of my camera helped me get a good handle on the basics of exposure.

The preview on the cameras LCD screen doesn’t really represent the actual exposure, it depends on the quality of the screen, its brightness and the preset that the camera applies to generate the preview. Since I prefer the look of dark, moody images more than bright ones, several times I’d get an image more underexposed than it should have been. I handled this during post-processing, by boosting shadows, but this added noise to the overall image, worsening it’s quality. In retrospect, relying on the camera’s built in LCD screen for judging the exposure just wasn’t a great way to work.

The next stage in my method was to start using the lightmeter in conjunction with Spot or Center-weighted metering. I moved the central focus point (because it is the most sensitive) onto my subject and used the lightmeter to see if it was under or overexposed. Accordingly I made changes to the aperture or shutter-speed as the situation warranted. If light-levels were too low, then I’d step up the ISO. Once I had the exposure and ISO locked, I recomposed and took the photograph. This was a big step forward in my photographic process – I was was using a deterministic approach to arrive at the exposure instead of by trial and error. As I look back at the images I took during this period, the general quality of exposure shows an improvement and the number of edits done in post a reduction from before.

I deviate from this approach sometimes, when the scene has a high dynamic range despite being well lit. My usual approach in such situations would result in a base ISO exposure but with too dark shadows. Pulling them up during post-processing adds noise.

For instance, this was photographed late on an evening around sunset. The sun is low, near the horizon and therefore in the frame, which gives the scene fairly high dynamic range. The camera ends up underexposing the image, since its exposure calculation is dominated by the bright sun.

As metered by the camera.

Here, I’ve brought the overall exposure up a bit and also increased the shadow level in Lightroom.

Shadows brought up in post

A 100% crop of this post-processed image shows the amount of noise that is now apparent.

A 100% crop shows just how much noise there is in this image

This is where Expose-to-the-Right (ETTR) helps.4At base ISO of a camera, to get the least amount of noise in the final image, it is best to maximize the amount of light captured.5 But this is a fine line – let in too much light, and you lose highlights in the image. So the trick is to over-expose as much as possible before clipping the highlights. After having done some tests, I know that on my D7200 and D500 an overexposure by 3 stops can still be recovered in post-processing. Similarly, at the other end, an underexposure of about -3 to -3.5 stops can be recovered before details disappear amongst pure noise. With this knowledge, my aim was to overexpose the brightest parts of my subject by 3 stops. This maximized light capture and allowed me to bring the exposure down in post, reducing noise levels in the overall image.

For instance, this is a scene which suited itself well for ETTR. I overexposed the image by about 2 stops. The captured image looks completely overblown.

Over-exposed by 2 stops, the sky and the marble structure in the center look unrecoverable

In Lightroom, I brought the exposure down by 2 stops and recovered highlights. The image (after a few more adjustments) looks a lot better now.

After having brought down the exposure in Lightroom, it looks much better

A 100% crop of this image shows how little noise there is.

About as clean as it gets

Bird Photography

In bird photography, the subject and conditions typically don’t allow me to work with the same method as before. Birds keep hopping around, move behind bushes, fly into or out of the shade which keeps changing the settings needed for a good exposure. Most of my concentration when photographing birds is on keeping them in focus and in the frame. So, for my exposure I need as much help as possible from the camera.

I manually set the shutter speed and aperture, but use auto-ISO. The shutter speed is set at 1/1000s as baseline so that I can quickly move up or down as dictated by the situation. The aperture is typically set to the widest possible to gather as much light as possible. So in most situations it is only the shutter-speed that I control. Since my focus point is always on the bird (in as much as it’s possible), the camera exposes for it. Therefore to counter it, I dial in an exposure compensation of about +1 stop. More times than not, ETTR doesn’t matter here, since ISOs I’m working with are well above the camera’s base value. Almost all the keepers in my In the Wild series have been captured this way.

Nevertheless, in several situations the camera gets it wrong. The commonest is when the bird is not big enough in the frame and the camera ends up exposing for the background or elements around the bird, resulting in an under- or over-exposed bird. At other times when the bird is itself dark, say a raven or an ibis, the camera again overexposes increasing the ISO to the high thousands.

Here the camera exposed for the snow, this is a recoverable image

Here the camera exposed for the bright sky, this image is unrecoverable

My experiments to nail exposure in these cases continue. Eventually I want to be using complete manual mode for bird photography as well. That requires a lot of experience to ‘know’ the exposure for a given situation and also some nimble camera work on it’s command dials without taking my eye off the viewfinder.


  1. This subject could be a spot, a centered area of the frame or even the entire frame; each of these is a so-called Metering Mode. 
  2. Perspective and quality of light are some other factors, which I don’t talk about in this post. 
  3. I describe the modes on Nikon DSLRs. Canon and Sony have equivalent but perhaps differently names modes. 
  4. Why this holds good only at base ISO is best explained with an example. Let’s say at ISO 100 overexposing by 3 stops requires too high a shutter speed than feasible. So you jump to, say, ISO 400. At this ISO, you’ve lost out on dynamic range and have intrinsically increased noise. Also, depending upon your sensor, it might have been better to underexpose at ISO 100 and raise expose during post. 
  5. Noise is a fiendishly complex topic. At the simplest level, there are two kinds of noise in DSLRs – Shot noise and Read noise. Shot noise is inherent in the light that is captured, while Read noise is that which is introduced by the camera when reading off the sensor. Maximizing light captured improve SNR with respect to shot noise, while lower ISOs help reduce the read noise. This is why ETTR works, overexposing just the right amount at base ISO maximizes SNR and minimizes read noise. Finally underexposing during post-processing reduces any visible noise even further. 

Blue-gray Gnatcatcher

I photographed this Blue-gray Gnatcatcher in mid-May in Peace Valley park. It was great day, warm and sunny, which meant we saw a lot of birds darting about above us. The gnatcatcher is an extremely skittish bird, so I’m quite pleased with myself for having captured this pose. Nevertheless, it is a rather boring photo.

NikonD7200, Nikkor 200-500mm | 1/1000, f/5.6 @ ISO 100

In this next photo I was (luckily) able to capture it in mid-air with it’s wings spread out, a strikingly good pose. The bird is slightly blurred out and a faster shutter speed would have definitely helped. Despite that, I love this photo. The pose, the colors both work very well for me. So much so, this was my phone wallpaper for quite long.

Nikon D7200, Nikkor 200-500mm | 1/1000, f/5.6 @ ISO 360

This photo was taken moments after the one above. After having landed on the branch, the gnatcather paused for a brief moment which let make this sharp image. The exposure this this photo is exactly the same as earlier, which means I get the same beautiful colors. But the pose is not quite as dramatic.

Nikon D7200, Nikkor 200-500mm | 1/1000, f/5.6 @ ISO 360

Antelope Canyon

Antelope Canyon is one of the many such canyons in the Page, AZ area, but easily the most famous. These canyons were formed over time as fast-flowing rain water eroded the sandstone in the area, giving the inner walls of the canyon their characteristic ‘flow’.

Antelope canyons’ bright orange and red sandstone, reflecting overhead sunlight forms the beautiful shapes this place is so famous for. To the eye of a photographer an abstract composition awaits at every turn, but the darkness, broken only by bright shafts of sunlight and sometimes a sliver of blue, make capturing this beauty a challenging task. These canyons are simultaneously a photographers dream and nightmare.

The canyons are divided into two, the Upper and Lower canyons, of which the Upper are more easily accesible and hence more popular (and therefore more crowded). Either canyon is accessible only through guided tours which are conducted by a few authorized groups. We booked our visit of the Upper canyons through Navajo Tours for exactly noon to get the best overhead light. While ours was a regular Sightseer’s Tour, they offer a longer Photography Tour as well which presumably will take you to the less frequented sections of the canyon.

On the designated date, upon arriving at the pick-up point and ‘checking in’ (i.e. making the payment for the reservation, in cash!) we were assigned our guide. After a short drive through a dusty stretch of unpaved road, in an open buggy, we were at the canyon entrance. The tour is basically an hour long walk from the entrance to the far end of the canyon. During this stretch, your guide points out the more popular sections of the canyon, sections that would interest the average tourist – some protrusions from the canyon walls that look like faces, or some others that resemble Monument Valley buttes for instance. From the far end back to the entrance is literally a sprint, with your guide constantly hurrying you on. Since the tour guides want keep each tour within its time limit, they don’t take too kindly to people who stop to take photographs on this walk back.

For the amateur photographer such as myself, a few observations I made will probably help. The canyons are a very dusty place – it’s basically fine sand which gets everywhere, so if you have a weather sealed body take it. In fact, it’s so dusty that you are better off taking a wide angle prime lens, instead of one that zooms just to avoid having it suck some dust inside. Don’t even think of changing your lens in or around the canyons. Coming to the photography itself, it’s a multi-pronged challenge:

  1. It is fairly dark within the canyon, your ISO will be quite high which makes it hard to get clean images. If you shoot on Auto, I suspect the ISO will be around the 6400 mark
  2. When sunlight does break through, it does so forming shafts due to the dust within. In such places the dynamic range of the scene is very high. On high ISOs, you lose dynamic range.
  3. Since the canyon walls are so close, in most compositions you will need more depth of field than you think. On a crop body something around f/5.6 works well. This doesn’t help with (1) and hence (2).
  4. Slowing the shutter speed seems like the obvious choice, but if you take the Sightseer’s Tour you can’t have a tripod with you and the crowd will not make it easy to shoot at slow shutter speeds hand-held.

For the photos in the gallery below, the baseline exposure that I used was 1/30, f/5.6 @ ISO 1250. Depending upon the situation, I moved one or more of these numbers around.

Osprey

I photographed this Osprey on a cloudy afternoon in Peace Valley. After having roamed about for a couple of hours photographing some grackles, robins and blackbirds I was lucky to spot this bird on my way out. Very close to where we had parked (near the boat-ramp on the south-west end of the lake), the osprey was making a few dives trying to catch fish.

This first photograph shows the osprey having leveled off, flying past me after a failed attempt. I’m very pleased with this photograph. It’s sharp and the fierce eyes and talons of the bird are both clearly visible too.

D7200, Nikkor 200-500mm | 1/2000, f/7.1 @ ISO 900

In this photo I was able to capture it’s moment of attack. I have mixed feelings about this photo – it captures the action well with the osprey’s wings and talons outstretched. But its not sharp enough and perhaps a slightly faster shutter speed would’ve captured the splash better.

D7200, Nikkor 200-500mm | 1/2000, f/7.1 @ ISO 1250

Next, I got a good shot of the Osprey lifting off (sadly away from me) with it’s catch. I think this is a beautiful shot. The bird, it’s catch and a few drops of water falling off on the bottom left are all tack sharp. That the background is two-tone adds to it’s look. The raw image quality of the photo is great too – I’ve got a couple of different edits already.

D7200, Nikkor 200-500mm | 1/2000, f/7.1 @ ISO 900

A couple of crows which were perched on a nearby tree spotted the Osprey with it’s catch and started to circle it, trying to get some free lunch. I managed to get a decent shot of it too. Like some of the others in the series, I love this one too. The osprey with it’s wings outstretched looks majestic, with the crow in the background greedily eyeing the fish.

D7200, Nikkor 200-500mm | 1/2000, f/7.1 @ ISO 720

The last photo I got of the Osprey is probably the best of the lot. After having warded off crows, the osprey made a final pass of Galena Lake before flying off to it’s nest in the far nort-east corner of the lake. This is easily among my best bird photographs – it’s tack sharp with the osprey and the fish clearly visible. I’ll likely be spending a lot of time on edits before printing this sometime.

D7200, Nikkor 200-500mm | 1/2000, f/7.1 @ ISO 720

After going back home, I was able to merge a sequence of 10-12 photos into one to show the dive. Unfortunately, my editing skills were not quite up to the mark, the different background colours for each image (due to slightly different ISO) shows through.

Hunt Sequence

Tree Swallow

During spring and summer the most common bird around Lake Galena in Peace Valley Park is the Swallow. I photographed this pair in the south-west end of the lake. The individual in flight was constantly in air, hovering around its partner which gave me several opportunities to capture their dance.

D7200, Nikkor 200-500mm | 1/640, f/8 @ ISO 220

This is among my favorite photographs, one that I’ve already printed. Everything about it works for me – the composition, the sharpness, the exposure.

White-tailed Nuthatch

On a sunny but cool day, I photographed this White-breasted Nuthatch along one of the trails in the north-east end of Peace Valley park. Since the Nuthatch spent almost all the time hopping about (upside down) the base of this tree, I initially thought it was chick woodpecker unable to fly. It was only later, after referring to my trusty app that I got informed otherwise.

D7200, Nikkor 200-500mm | 1/1000, f/7.1 @ ISO 640

Despite having a clear shot at the bird I feel I messed the exposure up. Because of way I exposed it to the highlights, I ended up having to lift the shadows up way too much. ETTR would have worked better.

Sparrow

I photographed this excited Sparrow heralding the coming of spring on an early-April afternoon, in the north-east corner of Peace Valley park. Despite the overcast, cold weather spring was in the air – green buds, chirping birds and more.

D7200, Nikkor 200-500mm | 1/1250, f/5.6 @ ISO 560

I like this photograph, despite the distracting twigs in the foreground it came out well. The exposure is good, the bird is sharp and it captures the sparrows singing nicely.

Black-capped Chickadee

This Black-capped Chickadee was flitting about excitedly, hopping across branches and nibbling at every bud around. Photographed in early April, spring was in the air and the Chickadee could definitely sense it.

D7200, Nikkor 200-500mm | 1/1600, f/5.6 @ ISO 2500

I like this photo, mostly because of the Chickadee’s endearing somersault. I wish the image were cleaner though – despite shooting at ISO 2500, I had to pull shadows up quite a bit adding to the already present noise.

Northern Flicker

This Northern Flicker was photographed in Peace Valley. As we were walking back to our car, I spotted the bird on top of a bare tree across an open grassy field.

D7200, Nikkor 200-500mm | 1/800, f/5.6 @ ISO 320

I like that it is a well exposed photo. The Flicker is a beautiful bird, with a distinct shape but it doesn’t show up too well here since there isn’t much detail in the photo. This is entirely due to my lacklustre sneaking skills, as I carefully(in my mind) closed in on the Flicker, it flew off.

American Robins

Photographed the same day as the previous Robin, each individual in this pair was mirroring it’s partner which made for a nice performance.

D7200, Nikkor 200-500mm | 1/800, f/5.6 @ ISO 1800

Compositionally perhaps a square crop would have worked better (I couldn’t do it here since one of the birds is in a corner and cropping this would have brought the poorer edge quality to the fore). Also, I wish I’d narrowed the aperture down to get a greater depth of field. I like however that the image is clear and relatively noise free despite the high ISO.

American Robin

On a rainy day, as we were ambling through Peace Valley park I came across this Robin that had hopped down from a branch above to get a drink from a shallow puddle. In this photo it looks like its staring at it’s reflection.

D7200, Nikkor 200-500mm | 1/800, f/5.6 @ ISO 3200

Although a good photo, I’m not quite satfisfied with it. On the technical front, I should’ve dropped the shutter speed down to around 1/320 or 1/400 and gotten a lower ISO. Compositionally too something is missing – the image isn’t pleasing to my eyes. I’ll probably be returning to this photo for experimenting with some more edits.