Five Seconds That Said It All: A Wind-Blown Red-Shouldered Hawk and a Rain-Soaked Ospreys Galore Workshop

KUDOS

“With any other trip leader, the workshop would have been a bust.  We had a record 6 inches of rain in a day and half.  But Chris pivoted quickly to help us find us other locations and subjects to shoot.  In the end, I was super pleased with my images and had a great time. Chris is the ultimate professional.  He is highly knowledgeable about both photography and bird behavior, but even more importantly, he helps to make it an inviting and fun learning environment for photographers at all levels.  A strong two thumbs up!” - Jennifer Bellon Massachusetts, USA

This red-shouldered hawk dropped in for maybe five seconds — landed, hung on for dear life as a gust tried to pry it off the perch, lost its grip, and was gone. Blink and you miss it. I got the frame I wanted and a good reminder of how unpredictable this kind of fieldwork can be.

That same workshop reinforced something else: respect the radar.

The second group got hammered — nearly six inches of rain in a day and a half. Along Florida’s east coast, that kind of rain is often regional. It can be dumping where you are and completely different an hour or two away. Experience has taught me to stay ahead of it — watch the radar closely, pick a likely clearing within a couple of hours, and move before things get worse. When it’s not safe to be on the lake with the ospreys, you adjust.

We didn’t avoid all of it — we drove through some of the heaviest rain anyone in the group had ever seen — but we stayed productive when it mattered.

Because of the weather, we had to change plans and ended up working some excellent locations we wouldn’t normally spend time in on this trip. Knowing the area made it straightforward to choose spots that worked with the light and wind, and the variety of subjects kept everyone engaged.

It also forced people to adapt.

Tracking fast birds in gusty conditions, working tight compositions in busy habitat, and being ready when something happens fast — like that hawk — are all part of it.

A few takeaways from the week:

• Watch the radar and learn how to read it — there’s almost always a break somewhere

• Have backup locations within a reasonable drive, ideally with different habitat

• Shoot for moments, not minutes — five seconds can be enough

• Stay flexible — tough conditions often lead to better images

• Safety comes first — no one goes out on the water in storms

We came away with strong images and a lot of good experiences.

That hawk summed it up. Brief, chaotic, and gone before you really process it.

If you’re thinking about joining me next April, come prepared to adapt.

That’s where the good stuff happens.

Roseate Spoonbill Landing in Golden Light | Florida Bird Photography Workshop Success

I made this image on April 3, 2026, while scouting for my Florida Osprey workshop, which began on April 5, 2026.

It was great to see so many familiar faces again — a strong group of returning clients, with just one new participant across both workshops. That says a lot, and I don’t take it for granted.

The second trip, in particular, turned into one of those weeks where you adapt or you lose. We had close to six inches of rain to deal with, but by watching the coastal weather carefully and making the right calls, we were able to stay out of the worst of it and keep ourselves in productive areas.

We made lemonade.

Species diversity on that second trip was excellent, and despite the conditions, opportunities kept coming. That’s often how it goes — the weather looks like it’s working against you, but if you stay flexible, it can end up working for you.

Stay liquid.

I think it’s fair to say both trips were a huge success.

And moments like this — a Roseate Spoonbill dropping in to land, wings wide in soft golden light — are a nice reminder of why we keep showing up, no matter what the forecast says.

Join Me in Florida Next April for Ospreys, Spoonbills, and Incredible Bird Photography Opportunities

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Join Me in Florida Next April for Ospreys, Spoonbills, and Incredible Bird Photography Opportunities 〰️

If this kind of moment speaks to you — the light, the behaviour, and making the right calls when it matters — I’ll be back in Florida next April doing it all again. Same approach, small group (maximum 5 guests), and a commitment to putting you in the best possible position, no matter what the weather throws at us.

Coastal Brown Bear Cubs Playfighting in Golden Light | Katmai Alaska Wildlife Photography

When the Fog Lifted — Katmai Spring Cubs at Play

There are moments in wildlife photography that stay with you long after the shutter stops.

After breakfast, we slipped quietly into the skiff and moved through thick coastal fog, the kind that muffles sound and softens everything around you. A short walk brought us onto the meadow just as the first warm light began to push through.

Then it happened.

As the fog slowly lifted, two spring cubs emerged right in front of us — already engaged, already full of energy. Wrestling. Testing each other. Completely unaware of us.

It was one of those emotional moments in the field where everything aligns — light, behaviour, proximity.

We sat with them for nearly an hour, photographing as they playfought in that beautiful, diffused golden light. No chaos. No rush. Just pure, natural behaviour unfolding in front of us.

This is early June on the Katmai coast.

When the grass is still low, the cubs are visible, and moments like this are possible — but never guaranteed. That’s the reality of working with truly wild bears, and exactly what makes it so rewarding when it comes together.

If experiencing moments like this is why you photograph wildlife, you’ll understand why this place is so special.

👉 Join me this June 12-19, 2026.

Experience Katmai’s Coastal Brown Bears — Where Wild Moments Like This Happen

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Experience Katmai’s Coastal Brown Bears — Where Wild Moments Like This Happen 🐻

Coastal Brown Bears Fighting in Katmai Alaska | Ultimate Brown Bear Photography Workshop

There is nothing quite like the adrenaline of being close to two coastal brown bears when they start to get rowdy.

We had been observing their behaviour from a safe distance and weren’t taking many photos at first because they were pointed away from us. Then everything changed. As they shifted and moved closer, their energy escalated — bringing the action right into range.

What looked intense never became dangerous. No injuries — just natural play fighting and strength testing. They stayed mostly within a small ditch, which helped contain the interaction but also hid much of it from view. We were ecstatic when everything lined up, and they engaged parallel to us, giving everyone the images they had been hoping for.

Moments like this aren’t rare in early June on the Katmai coast — but they’re never guaranteed. That’s the reality of working with truly wild animals, and part of what makes experiences like this so rewarding when it all comes together.

If this is the kind of behaviour you’ve been hoping to photograph, my June Ultimate Brown Bear workshop is timed specifically for it — before the sedge grass grows tall, when visibility is still excellent and interactions like this are at their peak.

👉 Details and availability:
https://www.chrisdoddsphoto.com/bear-boat-coastal-brown-bears-of-alaska

Photograph Coastal Brown Bears in Peak Behaviour — Join My June Katmai Workshop

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Photograph Coastal Brown Bears in Peak Behaviour — Join My June Katmai Workshop 🐻

Point Pelee Spring Migration Photography Workshop Returns May 5–6 | Sony Canada x Christopher Dodds

Back by Popular Demand: Sony Canada x Christopher Dodds Photo Walk Returns to Point Pelee – May 5–6

I’m excited to share that last year’s Sony Canada x Christopher Dodds Point Pelee Photo Walk was such a huge success that we’re doing it again on May 5–6. Timed for peak spring migration, this is when Point Pelee can truly shine — with colourful warblers, tanagers and orioles arriving in waves, sometimes in spectacular “fallouts.” I’ll be there providing in-the-field guidance, with Sony Canada’s Patrick Chan and Daniel Gutierrez on hand for technical support and loaner gear. It’s a fantastic opportunity for photographers of all levels to experience one of North America’s top bird photography destinations.

Point Pelee Spring Migration Photography Workshop (May 7–11) – Limited Availability

If you’re looking for a deeper experience, I have just a couple of spots remaining on my five-day Point Pelee Spring Migration workshop (May 7–11). This extended workshop gives you the time to fully immerse yourself in the rhythm of migration, refine your technique, and take advantage of changing conditions — from potential “wave days” to quieter moments that allow for more thoughtful compositions. With a small group and plenty of time in the field, it’s the best way to truly elevate your songbird photography.

Old Man of the Sea — Grizzled Sea Otter Portrait | Katmai Coast Alaska Wildlife Photography

There’s no mistaking an older sea otter when you see one.

This individual caught my attention immediately — that pale, weathered face rising out of calm water, front paws tucked in, completely at ease.

This isn’t albinism. What you’re seeing is age.

Sea otters (Enhydra lutris) often develop what’s known as “grizzling” — a gradual lightening of the fur as pigment fades over time. It typically starts on the head and can spread into the neck and chest. Some individuals, like this one, become almost entirely pale through the face, giving them a very distinctive look.

We photographed this otter along the Katmai Coast during my June Ultimate Brown Bears of Alaska workshop. While most people come for the bears, the strength of this trip is really the ecosystem as a whole. On any given day, you can move from photographing coastal brown bears to moments like this — quiet water, soft light, and a subject that simply lets you in.

Life for a sea otter here isn’t easy. Predation by killer whales has impacted some populations, and in rare cases, coastal brown bears have been known to take otters. Even in a place that feels calm, survival is never guaranteed.

From a photographic standpoint, this is exactly what I look for. Clean, uncluttered, and intimate. Shooting at water level removes everything but the subject.

Coastal Brown Bear Cubs Play Fighting in Katmai | Alaska Bear Photography Workshop

There’s always a moment after the action.

After a morning of torrential rain along the Katmai coast, the weather finally eased, and the bears began to emerge. These two spring cub siblings didn’t waste any time — tumbling, sparring, and chasing each other through the fresh green growth.

Full of energy.
Relentless.
Exactly what you hope to witness.

And then… it stopped.

Just as quickly as it began, the intensity faded. The bursts of energy gave way to fatigue, and within minutes, both cubs settled down side by side and face to face.

This moment.

Not the chaos — but the quiet after.

You could see it in their posture. Heads lowering. Eyes softening. The last flickers of play giving way to rest. Completely at ease in each other’s presence.

It’s easy to focus on the action, but these quieter moments often tell the deeper story — trust, comfort, and the bond between siblings learning the world together.

From a photographic standpoint, this is where everything comes together:
Soft post-storm light, clean green tones, low shooting angle, and behaviour that feels real.

No drama. No force. Just authenticity.

An Immersion in Bears — Not Just a Sighting

This image was created during my eight-day Coastal Brown Bear Workshop in Alaska — built around time, access, and real behaviour.

We begin with a scenic floatplane flight from Kodiak along the Katmai coast, landing to meet our vessel. After lunch, we’re out photographing bears that very first afternoon.

From there:

Days 2–7 — full days with bears.

No long drives.
No crowds.
No pressure.

Just time to let moments like this unfold naturally.

On Day 8, we photograph bears once more after breakfast before boarding our return floatplane flight back to Kodiak.

Why Early June Matters

These are spring cubs, and timing is everything.

Early June offers:

• Cubs that are still small, curious, and highly interactive

• Frequent bursts of play followed by moments like this

• Open visibility before the sedge grass grows too tall

It’s one of the few times you can consistently photograph both behaviour and emotion in the same sequence.

Join Me in Alaska

If you want more than just action shots — if you want to capture the full story of wildlife behaviour, from intensity to quiet — this is where it happens.

👉 Full details:
https://www.chrisdoddsphoto.com/bear-boat-coastal-brown-bears-of-alaska

Small group.
Eight days.
Real moments like this.

Photograph Coastal Brown Bears in Alaska — Eight Days of Unmatched Wildlife Access

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Photograph Coastal Brown Bears in Alaska — Eight Days of Unmatched Wildlife Access 〰️

Coastal Brown Bear Cub in the Rain — Katmai Alaska Bear Photography Workshop

Standing in the Rain with a Bear Cub — Katmai, Alaska

It had been raining hard all morning.

Not on and off… just steady, soaking rain. The kind that usually keeps people inside.

But not bears.

As the rain eased slightly, they began to emerge — and then this little cub walked out onto the shoreline, completely at ease.

Curious. Relaxed. Unbothered.

And then he stood up.

Not because of us — just to see the world a little better.

Close… but on Their Terms

One of the most remarkable things about photographing bears along the Katmai coast is just how comfortable they are.

We don’t approach.
We don’t pressure.

We let the bears decide.

And when you do that properly, you can be surprisingly close — not just physically, but connected to the moment in a way that’s hard to describe.

Cubs, Mothers, and the Landscape

Cubs face real risk from large adult males, so mothers are constantly making decisions about where to spend their time.

In places like Katmai, where bears are used to respectful human presence, you’ll sometimes notice mothers with cubs more comfortable in those same areas — while big males tend to keep their distance.

It’s not something dramatic or obvious… just part of how bears quietly navigate risk on the landscape.

And when you understand that — and respect it — you start to witness moments like this.

Why This Matters

Standing there, in the rain, with a young bear completely at ease…

You feel it.

This isn’t a zoo.
This isn’t luck.

It’s earned — through patience, respect, and being in the right place at the right time.

Join Me for the trip of a lifetime!

If you’ve ever wanted to experience this for yourself — not just see bears, but truly photograph them in the wild — this is it.

Eight days along the Katmai coast.
A scenic floatplane flight (included) carries us along the stunning coastline to our vessel, where a welcoming lunch awaits before we head straight out to photograph bears that very afternoon.
From that first shoot through to our final morning shoot after breakfast on day eight, it’s complete immersion in bears — living, breathing, and photographing alongside them — before we return to Kodiak.

👉 https://www.chrisdoddsphoto.com/bear-boat-coastal-brown-bears-of-alaska

These are the moments you don’t forget.

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You have helped me become a better photographer

Last week I finished editing my photos from the Alaska Bear Boat Trip, and I have lots of photos that I consider good. After what I have learned in your workshops, I am very conservative to call a photo “good” but can report that I have many more good photos from the trip than I expected to get.

The photo opportunities in Katmai National Park were numerous, the weather was cooperative, and trips to shore resulted in excellent light. You work hard to make your trips productive, informational, and an opportunity to improve one’s photography, and this trip was no exception.

The other participants were courteous and positive individuals with whom it was fun to share travel and photographic experiences. As you know I have been on more than a dozen trips with you and often there are other repeat customers/photographers on the trips. My experience is that the photographers who make multiple trips with you are always individuals with whom it is a pleasure to spend 3-7 days. Many of these people are as interested in my photography as they are in their own, and frequently it is possible to learn from one another. These folks are friends by the end of the trip, and I look forward to seeing them again in the future. The crew of the boat is helpful, the cook is experienced, the bear guide is knowledgeable, and the food is elegant. It was amazing to eat so much good food on the boat considering the limited facilities and space in which to prepare the meals.

This trip is the most memorial trip which you offer. The success of my photography from this trip is a result of the specific organization of this trip but also from the invaluable photographic expertise that I have gotten from your trips in this past. I have and do recommend your trips to other photographers as a fun way to spend time and improve their photography. You have helped me become a better photographer and I am happy to call you “friend”. Best wishes to you and your wife, Julie.

Dennis Stone, Indiana | USA

Ultimate Brown Bear Workshop — Photographing Playfighting Cubs in Katmai Alaska

That morning, the rain was almost torrential.

For much of the morning, it felt like the kind of weather that might keep everything quiet. Sheets of rain, low cloud, and very little movement.

And then it began to ease.

As it slowed, the bears started coming out.

One after another.

Before long, there were 21 bears within view, which is not uncommon in Katmai in June. That’s one of the things that makes this place so special. The density of bears here, combined with the open landscape, gives us the chance to watch all kinds of natural behaviour unfold at once.

These two were young males and likely siblings. My best guess would be somewhere around 2.5 to 3.5 years old — old enough to be independent, but still very much at that age where play is an important part of learning.

And that’s exactly what this was.

Not real fighting.

Playfighting.

This is how young bears test each other, build strength, work on balance and timing, and learn boundaries. There can be open mouths, swipes, pushing, biting and wrestling, but when you watch closely, there’s a rhythm to it. It’s controlled. Back and forth. More practice than conflict.

After that kind of rain, when the weather finally lets up, it can feel as though the whole landscape wakes up at once. That’s what happened here. The bears started moving, interacting, and these two quickly turned that burst of energy into a sparring match.

Moments like this are a big part of what makes June on the Katmai coast so extraordinary.

There can be bears everywhere you look. Cubs, subadults, big adults, families, and young bears are constantly interacting. It’s one of the best times to photograph not just bears, but behaviour.

This is exactly the kind of experience we look for during my Ultimate Brown Bear Workshop.

Eight days. All-inclusive from Kodiak, Alaska. We begin with a spectacular floatplane flight along the majestic Katmai coast from Kodiak, AK, land in bear country, have lunch, and are out photographing bears that same afternoon. From there, it’s full days in the field until our final morning shoot before flying out on day eight.

If you’ve ever wanted to photograph wild brown bears in a place where moments like this are part of daily life, I’d love to have you join me.

📅 June 12–19
📍 Katmai Coast, Alaska (All-inclusive from Kodiak, Alaska; excludes gratuities and personal expenses)

👉 Join me here:
https://www.chrisdoddsphoto.com/bear-boat-coastal-brown-bears-of-alaska

👉 Photograph Brown Bear Cubs & Behaviour — Katmai Alaska • June 12–19 → Learn More

🐻 Ultimate Brown Bear Workshop — Few Spots Left → Learn More

👉 Photograph Brown Bear Cubs & Behaviour — Katmai Alaska • June 12–19 → Learn More 🐻 Ultimate Brown Bear Workshop — Few Spots Left → Learn More

Why Bears Stand — Brown Bear Cub Photography Workshop in Katmai Alaska

Ultimate Brown Bear Workshop — Photographing Cubs in Golden Light, Katmai Alaska

There’s a moment most evenings in Katmai when everything just lines up.

The wind drops. The light turns gold. And the bears settle into a rhythm that feels almost calm.

This second-year cub stood up right at that moment.

No stress. No tension. Just curiosity — trying to see, trying to smell, trying to understand what’s around it.

That’s why bears stand.

It’s not aggression. It’s not a warning. It’s simply how they get a better view of the world — especially younger bears that are still learning. Spend enough time around them, and you start to recognize the difference right away.

And more importantly… they start to recognize you.

That’s where these moments come from.

Not luck.
Not luck at all.

They come from time in the field, understanding behaviour, and positioning yourself in a way that allows the bear to remain completely natural. You’re not forcing anything. You’re being allowed into it.

Early June is, without question, the best window for this.

The sedge grass hasn’t grown tall yet, so the cubs are still fully visible as they move through the landscape. Families are active. Interactions are constant. And when that evening light hits… it’s as good as it gets anywhere.

This is exactly what we focus on during my Ultimate Brown Bear Workshop.

Eight days of it.

We start with a scenic floatplane flight from Kodiak, following the rugged, mountainous Katmai coastline — one of the most spectacular flights you’ll ever take. We land directly in bear country, have lunch, and we’re out photographing that same afternoon.

From there, it’s full days with the bears.

No rushing. No quick encounters. Just time — to learn, to observe, and to consistently put yourself in the right position for light and behaviour to come together.

We photograph right through to our final morning before flying back out on day eight.

If you’ve ever wanted to experience this properly — not just see bears, but truly work with them photographically — this is it.

📅 June 12–19
📍 Katmai Coast, Alaska (All-inclusive from Kodiak, Alaska; excludes gratuities and personal expenses)

There are still a couple of spots available.

And this is one of those trips that people talk about for years after.

👉 Join me here:
https://www.chrisdoddsphoto.com/bear-boat-coastal-brown-bears-of-alaska

Very best,
Chris

Photograph Brown Bears in Golden Light — Katmai Alaska • June 12–19 → Learn More

🐻 Photograph Brown Bears in Golden Light — Katmai Alaska • June 12–19 → BOOK NOW

Photograph Brown Bears in Golden Light — Katmai Alaska • June 12–19 → Learn More 🐻 Photograph Brown Bears in Golden Light — Katmai Alaska • June 12–19 → BOOK NOW

Coastal Brown Bear Photography in Alaska: Capturing a Curious Moment on the Katmai Coast

There are moments in wildlife photography when everything slows down — and this was one of them.

This young Coastal Brown Bear approached with quiet, almost gentle curiosity, moving steadily through the grass, eyes fixed straight ahead—no drama, no chaos — just presence.

Encounters like this are what keep me coming back to Alaska year after year.

Photographing bears at close range isn’t about luck — it’s about understanding behaviour, reading body language, and allowing the moment to unfold naturally — and just as importantly, letting them read our body language. This bear wasn’t stressed, wasn’t reacting — it was simply exploring its world, and for a few seconds, we were part of it.

This is what it’s all about.

Not just photographing a bear… but photographing a moment of curiosity.

And those are the images that stay with you.

👉 Join Me in Alaska — June Coastal Brown Bear Workshop

If moments like this are what you’re chasing, I invite you to join me this June along the Katmai Coast.

Day 1 (June 12) begins with a picturesque floatplane flight from Kodiak, tracing the rugged coastline before landing to meet our ship anchored along the wild, dreamlike Katmai coast. After lunch, we head straight out to photograph bears that very afternoon.

From there, it’s full immersion — photographing Coastal Brown Bears every day from Day 2 through Day 7.

On Day 8 (June 19), we enjoy one final morning photographing bears after breakfast before another spectacular flight back to Kodiak.

Early June is a special window — before the sedge grass grows tall — giving us clean views of spring cubs and incredible opportunities for intimate, eye-level encounters like this.

Spots are limited, and this trip often fills quickly.

👉 Full details: https://www.chrisdoddsphoto.com/bear-boat-coastal-brown-bears-of-alaska

Come experience it for yourself.

How to Photograph White Birds (Exposure Tips for Puffins, Penguins & Seabirds)

In my recent post about photographing black birds properly, Raven Intelligence in Autumn Gold: How to Photograph Black Birds Properly, Daniel asked a great follow-up question in the comments:

“What about photographing penguins?”

It’s a terrific question, because birds with a lot of white plumage create the exact opposite exposure problem.

Black birds absorb light and often require extra exposure.
White birds do the opposite — they reflect significantly more light than a mid-tone.

Understanding this difference is one of the keys to consistently getting beautiful exposures of seabirds like puffins, gannets, and penguins.

Why Cameras Underexpose White Birds

Every camera meter is calibrated to render the scene as a mid-tone (about 18% grey).

Whenever the camera is controlling exposure automatically — including when using Auto ISO — the camera meter measures the light reflected off the subject that enters the lens, and attempts to render that brightness as a mid-tone.

This applies to:

• Aperture Priority

• Shutter Priority

• Program Mode

• Manual Mode with Auto ISO

In all of these situations, the camera meter is still reading the reflected light from the subject and adjusting exposure accordingly.

But here’s the problem.

White plumage reflects about 1⅔ stops more light than a mid-tone.

So if you simply follow what the camera meter suggests, it will try to darken that white plumage toward grey — producing dull, muddy whites instead of bright, detailed feathers.

The Simple Solution

Fortunately, the fix is straightforward.

When photographing birds with large white areas — puffins, penguins, swans, gannets, or snowy owls — I follow a simple process in MANUAL EXPOSURE MODE.

First, choose the aperture you want for depth of field.

Second, select a shutter speed fast enough to freeze motion.

Then adjust your ISO until the camera meter reads +1⅔ stops.

That tells the camera the subject is supposed to be brighter than mid-tone, and the exposure falls into place beautifully.

Where to Meter

To make this work consistently:

• Use spot metering
• Meter directly from the white chest or body plumage
• Avoid darker areas such as wings or background water

This ensures the camera is measuring the brightness of the white feathers themselves.

Confirming Exposure in the Field

Even with years of experience, I always double-check exposure.

After taking a frame, I quickly check two things:

1. Flashing highlights (blinkies)
to make sure important feather detail is not blown.

2. The histogram

For a properly exposed white bird, the whites should appear pushed toward the right side of the histogram, but not clipped.

If the histogram sits too far left, the whites will look dull and grey.

If it’s slammed against the right edge, you’ve lost feather detail.

The goal is bright whites with detail sitting just shy of clipping.

Puffins Are a Perfect Example

The Atlantic Puffin photographed above is a great example.

The bright white chest reflects much more light than the surrounding fog and water. If the camera simply averages the scene, the puffin will often be underexposed.

By metering from the white plumage and allowing the exposure to sit around +1⅔, the whites stay luminous while still preserving feather detail.

It’s a simple technique, but once you understand it, exposing white birds becomes much more predictable.

Photograph Puffins With Me on a Dreamlike Lighthouse Island

If photographing Atlantic Puffins is on your bucket list, I invite you to join me for my Deluxe Puffins Galore Photography Workshop in Quebec.

Our home for the workshop is a tiny, dreamlike lighthouse island surrounded by seabirds and dramatic ocean scenery.

We stay right on the island in the historic and fully restored lighthouse keeper’s home, and the photography is incredibly convenient — puffins and other seabirds are only about 200 meters (200 yards) from our accommodations.

There are no dangerous cliffs to climb, no long drives before sunrise, and no dependence on daily boat trips.

After a short 20-minute boat ride to the island, we remain there for the entire four days, fully immersed in photographing puffins and other seabirds.

Timed perfectly to coincide with the Puffins bringing the most fish back to their babies, which is always the most desired trophy image for photographers seeking high-visual-impact imagery!

Because everything is so close, the schedule is wonderfully relaxed. If the light gets harsh in the middle of the day, you can simply head back to the lighthouse keeper’s home for a hot shower, a nap, or some time working on your images, before heading back out for the beautiful evening light. The food is terrific, and the Puffin photography is off the charts!

You can learn more about the trip here:

👉 Deluxe Puffins Galore Photography Workshop Photo Tour
https://www.chrisdoddsphoto.com/deluxe-puffins-galore-workshop-photo-tour

If puffins are on your photography wish list, this is one of the most magical places in the world to photograph them.

Ultimate Alaska Brown Bear Photography Tour | Katmai Coastal Bears with Christopher Dodds

Photographing Coastal Brown Bears in Alaska

The Ultimate Katmai Brown Bear Photography Experience

Every wildlife photographer dreams of photographing wild brown bears up close — safely, respectfully, and in one of the most spectacular wilderness landscapes on Earth.

This photograph of twin Coastal Brown Bear cubs was made during my Ultimate Coastal Brown Bear Photo Tour along the remote coast of Katmai National Park, Alaska. Moments like this are exactly why Katmai is widely considered one of the greatest wildlife photography destinations in the world.

Although many people call them “grizzlies,” Coastal Brown Bears are actually the same species as inland grizzly bears. The difference is their incredible coastal food supply. Salmon, clams, sedge grass, and other rich marine foods allow these bears to grow larger and thrive along Alaska’s rugged coastline.

And there are few places on Earth where photographers can observe and photograph them so closely in the wild.

A World-Class Brown Bear Photography Destination

The Katmai Coast holds one of the highest densities of Coastal Brown Bears anywhere on the planet. During our time there, it is common to spend entire days surrounded by bears — mothers with cubs grazing the sedge meadows, massive boars roaming the tidal flats, or young cubs playing together in the grass.

Photographing twin cubs like the ones in this image is always special. Cubs are endlessly curious and playful, constantly exploring their surroundings while staying close to the protection of their mother.

Timing is everything for photography. This tour is perfectly scheduled for early June, when spring cubs are active, and the coastal sedge grass is still short enough that the bears remain fully visible. Later in the season, the grass grows tall enough to hide cubs, but in early summer, the open meadows provide beautiful, unobstructed opportunities to photograph mothers and their young.

A True Brown Bear Photography Expedition

This 8-day Ultimate Coastal Brown Bear Photo Tour takes place along the remote Katmai coastline, where we live aboard a privately chartered vessel that serves as our floating base camp.

Our adventure begins with a scenic floatplane flight along the breathtaking Katmai Coast from Kodiak to meet our expedition vessel on Day 1, putting us photographing bears that very afternoon, with extraordinary bear photography opportunities each day through Day 7 before flying back to Kodiak after our final morning shoot on Day 8.

Living on and working from the ship allows us to move with the weather, light, and bear activity while exploring some of the most productive wildlife locations in Alaska. Each day we spend extended time ashore photographing bears and observing their natural behaviour in one of the most extraordinary wilderness environments in North America.

Join Me in Alaska

After more than 40 years of photographing wildlife, Katmai remains one of the most remarkable places I have ever worked with a camera.

If photographing Coastal Brown Bears in the wild is on your bucket list, this workshop offers a rare opportunity to experience one of the planet’s greatest wildlife photography destinations.

Join me in Alaska — and create images and memories that will last a lifetime.

👉 Workshop details:
https://www.chrisdoddsphoto.com/bear-boat-coastal-brown-bears-of-alaska

Photographing Ospreys with Fish at Sunrise — Lake Blue Cypress Florida Osprey Photography Workshop

Few places in North America offer the kind of Osprey photography opportunities found at Lake Blue Cypress in Florida.

Each spring, hundreds of nesting Ospreys gather among the ancient cypress trees that rise directly from the dark, tannin-stained waters of the lake. For wildlife photographers, it’s one of the most exciting places anywhere to photograph Ospreys flying with fish, nest activity, and dramatic sunrise flight photography.

Our mornings start early.

Before sunrise, we step aboard the boat and glide quietly across the still water of Lake Blue Cypress. The silhouettes of massive cypress trees appear in the half-light, their branches filled with Osprey nests.

And everywhere around us are birds.

You hear them first — the sharp whistles of Ospreys calling across the lake as the sky begins to brighten in the east.

Then the movement begins.

Some birds leave the nests to hunt, flying out across the lake in search of fish. Others are already returning. One by one, they appear over the water, wings stretched wide, carrying freshly caught fish in their talons as they fly back toward the nests.

For photographers, this is the moment we’re waiting for.

Ospreys flying past the cypress trees glowing in soft Florida sunrise light, fish visible in their talons, wings fully extended as they glide toward their nests.

Ospreys bringing fish back to the nest.

Parents delivering breakfast to hungry chicks.

Birds soaring through warm golden light with the prehistoric cypress forest as a backdrop.

The photograph above captures one of those moments — an Osprey carrying a fish as it returns to its nest at sunrise over Lake Blue Cypress.

It’s a scene that repeats throughout the morning here, offering incredible opportunities for Osprey flight photography, wildlife action photography, and bird photography in Florida.

Simply put, Lake Blue Cypress is one of the best places in the world to photograph wild Ospreys.

Florida Osprey Photography Workshop — Lake Blue Cypress

If photographing Ospreys flying with fish in beautiful sunrise light sounds like something you’d love to experience, I have two remaining spots available on my upcoming:

Ospreys of Lake Blue Cypress Photography Workshop
April 8–10, 2026

During this small-group wildlife photography workshop in Florida, we photograph from a large, stable pontoon boat exploring the cypress forests of Lake Blue Cypress during the best light of the day.

With a maximum of only five photographers, everyone has space to shoot comfortably and receives personal instruction throughout the trip.

This workshop is designed for photographers who want to capture:

• Ospreys flying with fish
• Osprey nest activity and feeding behaviour
• Osprey flight photography in sunrise light
• Birds perched in ancient cypress trees
• Florida wildlife and bird photography in a truly unique setting

Lake Blue Cypress is often called the crown jewel of Florida Osprey photography, and once you experience a sunrise on the lake surrounded by hundreds of nesting birds, it’s easy to understand why.

Only Two Spots Remaining

At the time of writing, only two spaces remain for this workshop.

If you’ve been wanting to photograph wild Ospreys in Florida, this is one of the most productive and exciting locations anywhere in North America.

You can learn more about the workshop and reserve your spot here:

https://www.chrisdoddsphoto.com/ospreys-galore-photo-tour

I hope to see you on the lake this spring.

I had the pleasure of meeting Chris Dodds a few weeks ago in Florida when I signed up for his Osprey workshop. The sign up process and pre workshop communication was excellent and concise. I must admit that as I drove over from Tampa to the hotel I was a bit uneasy after looking at Chris's images wondering if he was approachable, patient, and a good teacher with someone like me who didn't have a lot of experience shooting wildlife before. We met in the hotel lobby , chatted for 30 minutes or so and thankfully Chris put my concerns to rest. I went to bed that night knowing that the next few days would be an adventure.

I can honestly say that Chris Dodd's workshop for Ospreys far exceeded my expectations. Chris is a great guy, very happy to answer your questions and the best thing of all, fun to shoot with. I learned a lot, met a new friend and best of all was blown away at the quality of my images because of Chris's help/techniques. I cannot wait to meet Chris somewhere else in the wild and experience another awesome outdoor shooting experience. Thank you Chris, I hope to see you again soon!

Mark Weaver Tampa, Florida, USA

Raven Intelligence in Autumn Gold: How to Photograph Black Birds Properly

Raven Intelligence in Autumn Gold

Photographing One of the Most Remarkable Birds in the North

There are birds you photograph… and then there are birds that seem to photograph you back.

The Common Raven falls firmly into the second category.

While exploring the forests of Northern Ontario last autumn, the landscape was alive with deep golds and warm amber tones. The birches and poplars had turned the forest into a glowing canvas, and against that background a raven landed nearby — calm, watchful, and intensely aware of everything around it.

Ravens have a presence that is hard to describe until you experience it. They are among the most intelligent birds on the planet, capable of complex problem-solving, playful behaviour, and even recognizing individual human faces. When one looks directly at you, there is a moment where it genuinely feels like you are being studied.

This individual gave me exactly that feeling.

Rather than chasing flight shots or action, I decided to slow down and focus on a portrait — something that really revealed the bird’s character. With the rich autumn colours behind it, the raven’s glossy black feathers provide a striking contrast, but they also present a technical challenge for many photographers who don’t fully understand exposure theory.

Black birds are notoriously difficult to expose properly.

Getting the Exposure Right

When photographing dark plumage, the biggest mistake is relying too heavily on lifting shadows later in post-processing. If the exposure is even slightly under in camera, recovering those deep blacks can introduce noise and destroy the subtle feather detail that gives the bird its texture and depth.

This image was captured with the Sony A1 II and the Sony 400–800mm lens, a combination that provides incredible reach and resolution while maintaining exceptional feather detail.

With ravens in particular, the key is to protect detail in the blacks while still maintaining a natural look. Their feathers are not truly “black” — they contain subtle tonal variation, layered textures, and sometimes even hints of iridescence. If the exposure is too dark, all of that disappears into a flat silhouette.

How to Photograph Black Birds

Photographing black birds such as ravens, crows, grackles, or blackbirds can be surprisingly challenging. The deep tones in their feathers can easily fool a camera’s meter into underexposing the image, causing the plumage to lose detail and appear flat or muddy.

One technique I often use when photographing black birds is spot metering directly from the darkest part of the bird’s plumage. When doing this, the correct exposure typically occurs when the meter reads approximately –1⅔ stops, since black subjects reflect roughly 1⅔ stops less light than a midtone.

The easiest way to dial this in with your camera set to manual exposure mode is to adjust your exposure in a logical sequence.

First, choose your aperture based on the depth of field you want.

Next, set your shutter speed fast enough to stop any unexpected movement.

Finally, adjust the ISO.

In many cases, raising the ISO slightly to intentionally brighten the blacks during capture helps ensure the feathers are recorded with enough light to preserve their structure and texture. This allows the camera to capture far more detail while reducing the need to push shadows later in post-processing, where noise most often appears.

At the same time, it’s important to monitor your histogram and highlight alerts to ensure that brighter areas — such as the bill or reflective feather edges — are not clipping.

Getting the exposure right in the camera is always the goal.

When done correctly, black feathers reveal beautiful texture, subtle tonal variation, and even a slight sheen that gives the bird depth and life in the photograph.

The Quiet Magic of Ravens

What I love most about this image is the calm intensity of the bird. Ravens have a presence that feels almost mythical — something many northern cultures have recognized for centuries. They are playful, mischievous, brilliant problem solvers, and endlessly curious.

Standing there with this raven only a short distance away, it felt less like photographing wildlife and more like sharing a moment with another intelligence.

The bird watched me carefully for several seconds, tilting its head slightly as if trying to understand what I was doing.

Then, just as quietly as it arrived, it lifted off and disappeared back into the forest.

Moments like that are part of what makes wildlife photography so addictive.

You’re not just documenting nature.

You’re interacting with it.

And sometimes, if you’re lucky, the bird lets you see a little bit of its personality.

Moments like this are exactly why I love leading photography workshops. Spending time in the field, watching wildlife behaviour unfold, and learning how to capture those moments with the right exposure and technique is something that can’t really be taught in a classroom.

Join Me In The Field

If you’d like to experience moments like this yourself, consider joining one of my upcoming wildlife photography workshops. Whether it’s photographing owls in winter, songbirds at Point Pelee, Ospreys in Florida, or puffins along the Atlantic coast, the goal is always the same — helping photographers learn to see light, understand exposure, and capture meaningful images in the natural world.

You can see the full list of upcoming workshops here:
www.naturephotographyblog.com

Last Frame Before Goodbye — A Barred Owl in the Rain

Some moments in the field stick with you — not because they were easy, but because everything aligned at just the right time.

This was the last image I made on week seven of eight winter owl workshops last week — rain falling, forest turning dark, everyone heading toward the airport in about an hour.

Sony A1 II
Sony 400–800mm at 641mm
ISO 20,000 | f/8 | 1/5,000s

High ISO still makes some photographers nervous, but the reality with modern sensors is this: ISO isn’t the enemy — poor exposure is. In situations like this — low light, rain, an owl moving fast — I make decisions based on freezing motion and preserving detail in-camera, not pulling shadows later at the expense of quality.

I needed 1/5,000s to hold the wings crisp and to render the rain as droplets instead of streaks. f/8 gave me the depth I wanted across the wings. The forest was dark. There was no soft golden light coming from anywhere. Exposure discipline was the tool that kept this frame from being just another passing shot.

Owls in the rain are magical. The air gains texture. The background simplifies. The bird feels like it’s floating in its own world. Nothing about it feels staged. Everything feels real — and earned.

That’s part of what draws me back to winter owl photography year after year. It’s not just about seeing the birds — it’s about being there with them in whatever light and weather they choose to show themselves. You learn to read the conditions. You learn to trust your gear. You learn to trust yourself.

This owl made one solid pass through the forest at just the moment we needed it — and then it was done. A quiet full-stop on a long week in the field.

On Exposure, ISO, and Getting It Right

Some photographers still worry about high ISO numbers.

Here’s the truth I share with every group:

• You can shoot at ISO 20,000 today and get clean, rich images — but only if you expose with intent.

• Underexposure plus heavy shadow recovery is when noise becomes a problem — not because of the ISO number itself.

• Modern mirrorless sensors like the Sony A1 II deliver latitude and detail that reward careful exposure choices in challenging light.

Your histogram should be pushed confidently to the right without clipping critical highlights in feathers. Don’t guess — check. That’s how you capture usable detail in every zone that matters — especially in a dark background and rainy scene like this one.

Why These Moments Matter

Owls don’t perform on cue. They don’t wait for sunrise, perfect wind, or magical light. They are what they are, where they are — and our job is to see them, not force them.

Rain adds depth. Dark woods add mood. High shutter speeds bring out detail. But none of that works if your exposure falls apart.

This frame was not luck. It was knowledge and preparation meeting opportunity.

That’s why I love teaching these workshops — not just showing birds, but showing you what they look like when you get your settings right, when you trust your instincts, and when you stay present in the moment.

Join Me Next Winter

If images like this — real, wild, unpredictable, demanding — are the kind that make you want to keep learning and keep shooting, I’d love to have you out in the field next season.

We’ll be doing it again — rain, snow, dark woods, early light — and every workshop is a chance to grow as a photographer and deepen your confidence with your camera.

The owls will be here next winter.
I hope you will be too.

A Second Migration Gift — Prothonotary Warbler Reflections at Point Pelee

Spring migration at Point Pelee National Park is already legendary for small songbirds arriving low and slow after crossing Lake Erie. In my recent post about photographing an American Redstart during spring migration, I touched on the magic of warbler fallout and how understanding bird behaviour can completely transform your photography.

But there was another moment — one that pulled me into the shadows and reminded me why I chase light as much as birds.

This Prothonotary Warbler wasn’t perched out in the open, nor was it offering a classic pose against fresh spring greens. Instead, it moved quietly along the edge of a dark, still pool, gleaning insects from wet bark, its golden head briefly mirrored in the water below. The surrounding bark—layered with texture and shadow—formed a natural frame, and the stillness of the moment became its own kind of light.

Photographing it was less about reacting and more about waiting, watching, and blending. The bird wasn’t high, wasn’t bold — but it was present. And when I found the light as it dipped into the pool, the reflection emerged like a second subject: a mirror image capturing both behaviour and environment in a single frame.

Moments like this are exactly why spring migration at Pelee is so special. It’s not only the abundance of species — the Redstarts, Blackburnians, Bay-breasteds — but the quality of opportunity that comes when birds aren’t fleeing but settling. They arrive tired, intentional, and yes, sometimes reflective — literally and metaphorically.

You can read the full story of this encounter, and see how light and shadow played a role in making this image come alive, in my earlier post:

👉 Light and Shadow — Capturing a Prothonotary Warbler’s Reflection
https://www.naturephotographyblog.com/blog/light-and-shadow-capturing-a-prothonotary-warblers-reflection

Why this matters for your photography

This kind of moment isn’t random. It’s the result of:

• Being in the right place at the right time – Point Pelee during peak spring migration

• Reading bird behaviour – noticing when songbirds are low and deliberate

• Understanding light and environment – letting shadows and reflections work for you

• Mastering in-camera exposure – catching subtle tones without over or underexposing

When you align those elements, you find pictures you didn’t even know you were looking for.

Few spots left — join me at Point Pelee

If these kinds of experiences speak to you — American Redstarts moving low after crossing Lake Erie, Prothonotary reflections in shadowed pools, and the subtle art of seeing before you shoot — there are still a handful of spots left in my Songbirds of Pelee Bird Photography Workshop, May 7–11.

We’ll explore:

• Photographing warblers and other songbirds during spring migration

• Ethical fieldcraft and how to read bird behaviour

• Mastering in-camera exposure for fast-changing light

• Working thoughtfully during warbler fallout days

📸 Limited spaces remain.
👉 Learn more and book here:
https://www.chrisdoddsphoto.com/songbirds-of-pelee-photo-tour

Spring migration won’t wait — neither should your opportunity to photograph it.

Chris

Photographing an American Redstart at Point Pelee During Spring Migration

Why warbler fallout makes this Canada’s best bird photography workshop location

Every spring, Point Pelee National Park becomes one of the most important bird migration stopovers in North America—and for bird photographers, it’s nothing short of magical. During my Point Pelee Spring Migration Workshop, I had the opportunity to photograph this stunning American Redstart at close range, in beautiful light, during peak migration conditions.

American Redstarts are typically fast, restless warblers—constantly flicking, darting, and disappearing into dense foliage. But spring migration changes everything.

Why spring migration is the best time to photograph American Redstarts

By the time American Redstarts reach Point Pelee, many have just completed a demanding overnight crossing of Lake Erie. This is a major physiological effort for a bird weighing only a few grams. When weather systems align—southerly winds, overnight rain, or sudden temperature drops—birds arrive low, slow, and visibly exhausted.

For bird photographers, this creates rare opportunities. Instead of racing through the canopy, American Redstarts often perch at eye level, forage methodically, and pause just long enough for carefully composed images. These conditions are exactly why spring migration at Point Pelee is so productive for photography.

Gear and approach in the field

This image was made using the Sony a9 Mark III, paired with the Sony FE 400-800mm f/6.3-8 G OSS Lens @790mm—a really portable setup that allows me to keep a respectful distance while still filling the frame with fine detail. During migration, patience and restraint matter more than speed. When birds are tired, ethical fieldcraft means letting them settle, feed, and recover while you work quietly and deliberately.

American Redstart migration facts

American Redstarts are long-distance migrants, wintering in the Caribbean, Central America, and northern South America. Each spring, they travel thousands of kilometres to reach breeding territories across Canada and the northern United States. Point Pelee, as the southernmost point of mainland Canada, acts as a critical first landfall—making it one of the best places anywhere to observe and photograph them during spring migration.

When warbler fallout happens at Point Pelee

On the right mornings, Point Pelee delivers what birders and photographers dream about: warbler fallout. Dozens of species—American Redstarts, Blackburnians, Magnolias, Bay-breasted Warblers, and more—can be found feeding low, resting in open cover, and allowing intimate views that are rarely possible elsewhere.

When fallout occurs, the park feels alive. Every trail holds possibility. It’s not about chasing birds—it’s about slowing down, reading behavior, and letting moments unfold naturally.

Join my Point Pelee Bird Photography Workshop

If photographing American Redstarts, experiencing warbler fallout, and immersing yourself in spring migration at Point Pelee sounds appealing, I invite you to join me for my Songbirds of Pelee Bird Photography Workshop, running May 7–11.

📸 Limited spots available.
👉 Join me at Point Pelee this May and experience one of the finest bird photography workshops in North America—right in the heart of spring migration.

Rough-legged Hawk in Extreme Cold: Sony Mirrorless Battery Reality at −20 °C

Sony NP-FZ100 Batteries at −20 °C: What Actually Happens in the Field

The Sony NP-FZ100 is one of the better mirrorless batteries I’ve used in cold conditions—but let’s be honest: at around −20 °C, physics always wins.

You will see a noticeable drop in usable capacity once both the battery and the camera body are fully chilled. What matters far more than any spec sheet is how you manage warmth, shooting rhythm, and power-hungry habits in the field.

Setting Expectations

Sony rates lithium-ion packs like the NP-FZ100 for operation roughly between 0 °C and 40–45 °C, and performance falls off rapidly once you head well below freezing. In truly cold conditions, losing half—or more—of your normal runtime is common. If you go out at −20 °C, assuming room-temperature performance, frustration is almost guaranteed.

One Warm Battery, Warm Camera (At First)

When both the camera and battery start warm, the pattern is fairly consistent:

• For the first 10–15 minutes, things often feel “normal.”

• After that, the percentage begins to descend faster than expected.

• Long pauses, menu use, and heavy LCD chimping accelerate that decline as the battery cools between bursts.

• Once the entire body is at ambient temperature, the remaining percentage on the display is more of a rough estimate than a promise—abrupt shutdowns can occur even when the meter still shows some charge.

Cold Camera, Warm Battery

Dropping a warm NP-FZ100 into a camera that has been sitting at −20 °C is a very different experience. The battery is immediately surrounded by a cold magnesium body, cold electronics, and a chilled display, so it cools rapidly and becomes less able to deliver current efficiently. As a result, the apparent capacity drops much faster than when both the camera and the battery are warm—the pack is effectively placed in a small, well-insulated freezer.

This is where cycling batteries become critical. A pack that seems “dead” in the cold will often deliver a surprising number of extra frames once it warms back up in an inside pocket. In practice, that means planning your shooting in bursts: make images while the battery is warm, then let it recover while another one takes its place.

Two Batteries in a Vertical Grip

Running two NP-FZ100 batteries in a vertical grip changes the equation, mostly in your favour. Drawing from two cells shares the load, reducing the instantaneous current each one must supply and helping them cope with the cold more gracefully.

If both packs begin warm, the combination of extra capacity and shared load can feel close to “normal” for a meaningful stretch of time, and you’re less likely to hit a sudden shutdown in the middle of a good moment. Once both packs and the grip fully chill, the same physics still apply: the curve is gentler, but it’s still heading downhill.

Why Using the EVF Helps

On cameras like the Sony α1 II and Sony α9 III, both of which use the NP-FZ100 battery, the EVF typically draws less power than the rear LCD in real-world use. The EVF is physically smaller and doesn’t ramp up brightness as aggressively as the larger LCD, which makes it a more efficient way to compose and review shots—especially when every milliamp counts in the cold.

(EVF vs LCD power differences vary by implementation, but many experienced shooters notice a practical savings using the EVF in cold conditions.)

A Simple Trick That Really Helps

One simple addition that makes a real difference is slipping a chemical hand warmer* into the same inside pocket where you keep your spare batteries. You don’t want direct contact—just shared warmth. That gentle heat helps batteries recover faster between rotations and keeps “resting” packs from dropping all the way down to ambient temperature. During prolonged −20 °C sessions, this can be the difference between a battery that comes back to life and one that stays stubbornly flat.

Practical Cold-Weather Habits

A few simple habits matter more than obsessing over exact shot counts:

• Keep spare batteries inside your jacket or mid-layer, not in an exterior pack pocket.

• Swap batteries before they run completely flat and warm them up before charging later.

• Use the EVF instead of the rear screen when possible, and minimize review time.

• Think in planned shooting bursts, not constant on-off wake cycles.

Which Sony Cameras Use the NP-FZ100?

This applies to Sony full-frame mirrorless cameras using the NP-FZ100, including:

• Sony α1 and α1 II

• Sony α9, α9 III

• Sony α7 III and α7 IV

• Sony α7R III, α7R IV, and α7R V

• Sony α7S III

These cameras cover the bulk of Sony’s current battery-hungry professional bodies.

Where This Post Comes From

This article grew directly out of conversations during my winter owl workshops, where battery performance at −15 to −25 °C becomes a daily, practical concern—not a theoretical one.

Standing in frozen fields at dawn, rotating batteries between gloves and inside pockets, and watching cameras shut down mid-sequence inevitably leads to these discussions. Comparing notes with participants using different Sony bodies—but the same NP-FZ100—has been a great reminder that while shooting styles vary, the cold behaves very consistently.

Your Turn

Real-world experience is more valuable than any lab test.

• How many frames (or minutes of video) are you typically getting from a single NP-FZ100 at around −20 °C when the camera starts warm?

• Have you noticed a clear difference when the camera body itself begins the session already cold?

• If you shoot with a two-battery grip, does it feel like twice as long, or more like a buffer against sudden shutdowns?

• Have you tried rotating batteries with a hand warmer in the pocket—did it noticeably extend usable life for you?

Sharing honest field results from truly cold conditions helps turn winter frustration into something genuinely useful for other Sony shooters who live and work in winter.

*So-called “chemical” hand warmers are not chemical in the sense of containing hazardous substances or producing toxic reactions. They work through a controlled oxidation process (typically, iron powder reacting with oxygen) that safely releases heat. When used as intended—inside a pocket, not in direct contact with bare skin for extended periods—they are widely used, non-toxic, and safe around camera batteries and electronics. Avoid moisture and direct pressure on lithium-ion cells, but shared warmth in a pocket is both effective and well within normal field use.

Why I Don’t Use Flash on Birds and Owls (and Why We Used To)

Why I Don’t Use Flash on Birds and Owls (and why we used to)

I’m occasionally asked why I don’t use flash for birds—especially owls. My answer is pretty practical: with modern cameras, I don’t need it, and it’s one more factor that can influence a bird’s behaviour.

That wasn’t always true.

A quick bit of history: film days, slow light, and the “Better Beamer”

In the film era, low light was a wall. Film was slow, usable shutter speeds were hard to come by, and you didn’t have today’s clean high-ISO files or low-light autofocus.

Flash became a solution—sometimes for exposure, and sometimes for aesthetics. A small catchlight can make a bird feel “alive” in the frame; without it, subjects photographed in flat light can look oddly lifeless.

That’s where the Fresnel flash extender came in: a simple lens that concentrates the flash beam so more of the light lands on the bird instead of being wasted across the whole scene. One of the best-known versions is the Better Beamer, which uses a Fresnel lens to narrow and concentrate the flash output.

And the Better Beamer has a name attached to it that matters to me personally.

Walt Anderson (RIP) and real innovation

My friend Walt Anderson (RIP) was the inventor/creator of the Visual Echoes Flash Extender—widely known as the Better Beamer.
He began exploring the then-new TTL flash systems in the early 1990s and founded Visual Echoes to produce and market the product.

It was a smart, practical innovation for the realities of that time. It helped many bird photographers produce better images when the tools simply weren’t what they are today.

What changed: modern cameras changed the need

Fast forward to now: modern sensors can handle ISO levels we wouldn’t have dreamed of in the film days, and autofocus can lock onto a subject in very low light. For most bird photography situations, I can make the image with ambient light and good technique—without introducing artificial light into the encounter.

So for me, flash has shifted from “useful tool” to “unnecessary tool” for bird photography.

Owls in particular

Most Owls are highly adapted to low-light environments. Their hunting and movement patterns are built around darkness and subtle contrast. Even if long-term effects of flash are debated in different contexts, the short-term reality in the field is that some birds react—blinking, flinching, shifting posture, or leaving a perch. If I can avoid introducing that variable, I will.

What the research says (a simple, measurable point)

There’s also a research-backed reason to be cautious with anything that increases disturbance.

A 2019 study in Biological Conservation looked at bird photography and quantified escape responses (flight-initiation distance). One of the headline findings: for most species, photographers triggered escape at greater distances than walkers, suggesting that photography can be a stronger disturbance stimulus than a normal passerby.

That doesn’t “prove” flash is always harmful—but it does reinforce a basic idea: our choices and behaviours around birds matter, and it’s worth minimizing anything that can add pressure.

The ethical baseline I follow

I try to keep my approach simple and consistent with widely shared best practices. NANPA’s Principles of Ethical Field Practices puts it plainly:

“If an animal shows stress, move back and use a longer lens.”

That line is easy to apply, and it works.

Where I land

I’m not interested in turning this into a debate. I’m interested in stacking the odds in favour of the bird.

So I work with available light, modern sensor performance, and field craft. And when the light isn’t there, I’d rather miss a frame than add a variable that I don’t need.

References

• NANPA — Principles of Ethical Field Practices (Revised March 2018).

• Slater et al. (2019) — “Camera shy? … avian responses to [bird photographers]” Biological Conservation(highlights include longer escape distances to photographers than walkers).

Short-eared Owl — Winter Flight with Lone Tree by Julie Morrison (Asio flammeus, Hibou des marais, Búho campestre, SEOW) January 8, 2025, during week 1/8 of the Snowy Owl Workshops in Ontario, Canada. Sony a9 Mark III mirrorless camera body & Sony SEL FE 200-600mm f/5.6-6.3 G OSS Lens @600mm. ISO 5,000, f/6.3 @ 1/5,000s Manual exposure.

That same afternoon—the very one that gave me the image at the top of this post—also produced a milestone I’m genuinely proud of: my wife, Julie Morrison, made an image that’s now being published here on the blog for the first time. If you’ve spent any time with us in the field, you already know she’s a gifted photographer with a calm, confident eye and a knack for timing. But what really makes my wife a force to be reckoned with on workshops is her owl-spotting superpower: she’ll pick up a shape, a posture, a blink of movement in the grass that most people would drive right past. I love watching her work, and I’m thrilled to share her first blog-published image—made on the same afternoon as mine.