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Kingfisher in Late Sun, and other window shots.

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One of the advantages of today’s long zoom Point & Shoot cameras is their relative speed and ease of use, when compared to either a digiscoping rig, or a conventional DSLR long lens combo. The Canon SX40HS I use is tiny compared to either, and rides securely in the passenger seat while driving loops at places like Merritt Island National Wildlife Refuge, Bosque del Apache, or even Viera Wetlands (a municipal wetlands…settlement ponds…designed for birding). It is up and in my hand and pointed out the window of the car quicker than I can write this sentence.

And, with the useful digital tel-extender function putting you out at 1240-1680mm equivalent fields of view, you have the reach to capture many birds without getting out of the car.

That is the only way (in my experience) to catch at Kingfisher at any reasonable distance at Merritt Island. Kingfishers on Black Point Wildlife Drive are skittish to say the least. Only once have I ever successfully gotten out of the car to set up my digiscoping rig before the bird was off down the channel, or up over the mangroves and out of site.

This bird was perched on the far side of the water channel next to the road just beyond the eagle nest station. I pulled up beside it, rolled down the window on the passenger side (thank you for electric windows!) got the Canon SX40HS up and got off a burst of 6 shots before she took flight. The light was amazing. The distance was reasonable. I could not have done it with either a digiscoping rig or a long lens (unless I had the long lens mounted on a window mount and ready to go).

This is another out-the-window shot, this time on the driver’s side. The bird was right below the car, at the edge of pond, up against the dyke. As you see if you look closely I was shooting down through grasses, reeds, and even a small mangrove bush. The bird was feeding actively, never still. It got so close I backed off on the 1240mm equivalent full optical zoom and 1.5x digital tel-extender would have given me to shoot at about 1000mm equivalent.

This Great Egret was at the foot of the dyke at Viera Wetlands on the driver’s side. Again, I pulled up, pointed the Canon SX40HS at full optical (840mm equivalent), and shot point blank. It does not get any better than that.

Same drill on these White Ibis (2nd shot is an immature) a bit further around the loop.

Finally here is a comparison shot of the view out the passenger window at Merritt Island. The first is at 42mm equivalent, so it is about what the naked eye would see. The second is at 230mm equivalent. They were taken within seconds of each other. Not possible with any other kind of camera. Superzooms rule!

At least they rule the window shot.

White Ibis Feeding. What P&S4Wildlife is all about.

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Looking through my images from the Space Coast Birding Festival, I don’t have many shots of White Ibis. In fact, in retrospect, I didn’t see a lot of White Ibis: maybe a half a dozen birds total, scattered widely in the ponds at Black Point Drive. Other years they have been more abundant…but they are never present in the numbers of say, the Great and Snowy Egrets.

This mostly backlit shot is a good example of how implicitly I have come to rely on the exposure systems and dynamic range (enhanced as it often is, an is here, by special in-camera processing)  in today’s digital cameras…cuppled, of course, with the post processing available in programs like PhotoShop and Lightroom. Not so long ago, and certainly back in the days of slide film, this would have been a very tricky exposure, especially with the birds in constant motion. Today I just frame and shoot. To me that is the essence of the Point and Shoot method. Let the camera do what it is good at…exposure…focus…white-balance…and stay concentrated on the behavior of the subject, or the changing light on the landscape, and make full use of the zoom framing tools today’s cameras provide.

The other thing that pops out here it the forgiving depth of field of today’s superzoom cameras. We have here the framing of a 1240mm lens on a full frame DSLR (840mm optical zoom, plus the Canon’s unique 1.5x digital tel-extender), yet the depth of field of 150mm lens. The extended depth of field of a superzoom can be a problem with macro and close up shots…but at the telephoto end it is a real blessing. To achieve this effect with a conventional DSLR and a long lens, you would probably need focus stacking…multiple images taken with different focus points and digitally combined for greater depth of field…which of course would be pretty difficulty with subjects moving rapidly across the field, like the Ibi.

Canon SX40HS as above. f5.8 @ 1/1250th @ ISO 125. Program with iContrast (for the dynamic range enhancement I was talking about) and –1/3EV exposure compensation (my standard setting for this camera).

Processed for intensity, clarity, and sharpness, with some fill light to further open shadows, in Lightroom.

Should I invest in a digiscoping rig or a long lens?

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I get asked this question often enough so that I have developed a standard answer:

yrwbYou don’t buy a scope to take pictures of birds. You buy a scope to look at birds. That is what it was made for. You carry it the field while birding to look at birds. If you have an interest in photography as well, you can attach a camera to the scope to take pictures of birds. It is a lot of fun, will produce some amazingly satisfying images, and adds very little weight or expense beyond what you are already carrying. And, you can take photos of the birds you see from fairly long distances, casually, without much special effort beyond attaching the camera. That’s digiscoping. This image was digiscoped at about 45 feet.

You don’t buy a lens to look at birds. You buy a lens to take pictures of birds. That is what was made for. You carry it in the field while photographing birds. That involves a whole set of skills, mostly centered on getting close enough to the bird to fill the frame. If you want to also look at birds, you carry binoculars and use them when you get close enough (because you certainly are NOT carrying both a spotting scope and a long lens, and you are not getting very satisfying looks at birds through your long lens). With experience and skill your images of birds will be beyond satisfying…they will be stunningly detailed studies of the living creature. That’s bird photography. The Kinglet here is a good example from master wildlife photographer, Steve Creek. For more examples visit his blog, or take a look at the stunning work of UK bird photographer Nigel Blake on flickr.

There are three reasons a photographer might buy a spotting scope and small camera instead of a lens. To even consider digiscoping the photographer has to be willing to accept the level of image quality possible with a camera working behind a scope. Working from a distance, digiscoped image quality will be as good as and sometimes considerably better than a long lens working much beyond frame filling distance (arguably, but that is my experience), but it will never equal the quality of a frame filling bird taken at 12 feet with 600mm lens, or even at 24 feet with a 2X extender. Still, the three reasons a photographer might consider digiscoping: 1) to work from greater distances than a long lens allows, 2) to limit the weight and bulk of the equipment carried (a scope and camera is always going to be lighter and easier to carry than a long lens), and 3) to control expense (even the best digiscoping rig will cost half what a 600mm IS lens does).

There are no reasons why a birder would buy long lens instead of a spotting scope. :)

Where you see yourself and your desires and needs in all that will answer your question.

Point & Shoot 4 Wildlife for LBJs. Gotta have the reach!

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The smaller the bird, the more reach you need to fill the frame effectively. Simple. You can take convincing (and satisfying) shots of Herons at close range (under 50 feet) with the 800mm end of a super-zoom P&S camera…but shots of sparrows and other Little Brown Jobs at that same range are not very satisfying. Sometimes, of course, you don’t have a choice. I would not take a digiscoping rig with tripod out on the boardwalk at Magee Marsh…just would not do it…so there the P&S super-zoom has to work…and does…see P&S 4 Wildlife. Part 2. Wicked Warblers. The saving grace at Magee is that the birds are close…sometimes within 12 feet…rarely over 20…and the birds are bright…so any reasonable capture is going to be satisfying…even if you can’t see the inner details of the individual feathers.

Still, given the choice, for sparrows and other LBJs, I would always choose a digiscoping rig.

This is a shot of a Song Sparrow at 45 feet with the Nikon Coolpix P500 at full (810mm equivalent field of view) zoom…and cropped down from full frame at that!

If you run the zoom up into the digital range, at 1600 mm this is what you get, again, cropped from full frame. Not bad for digital zoom, at that.

This is the same bird as the first image, from the same spot, using the Canon SD4000IS behind the 20-75x Vario eyepiece on the ZEISS DiaScope 85FL, first at just over 2200mm equivalent, and then at about 3500mm equivalent…full frame…uncropped…10 mp images.

Clearly, there is no comparison between the level of detail captured by the P&S and the digiscoping rig from the same distance, nor should anyone expect there to be. That reach is one of the primary advantages of digiscoping after all…and it is why we are carrying the scope in the first place.

Now, of course, if you live on the west coast, where some of the Song Sparrows are the size of Robins, you could probably get away with just the super-zoom most days :)

Point and Shoot for Wildlife Takes a Tern at Bolsa Chica

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On a recent birding, digiscoping, and photography expedition to Bolsa Chica Ecological Reserve in Huntington Beach California I captured a series of images of a Forster’s Tern that dramatically demonstrate the range possible with two Point and Shoot cameras and a spotting scope. Equipment: 1) Nikon Coolpix P500, with a 36x zoom, 23mm to 810mm equivalent fields of view, 2) Canon PowerShot SD4000IS  behind the 20-75x Vario eyepiece on a ZEISS DiaScope 85FL spotting scope, for equivalent fields of view in the 1000-5000mm range. I have also included an HD video shot with the Canon SD4000IS and ZEISS DiaScope, and a few flight shots of the Terns, taken with the Coolpix…just to demonstrate further possibilities.

23mm equivalent field of view, Nikon Coolpix P500, notice the Forster’s Tern on the post.

Same Tern, 810mm equivalent, Nikon Coolpix P500, pretty amazing range in a compact P&S

Preening action, 1300mm equivalent, Canon SD4000IS at 65mm equivalent and ZEISS DiaScope at 20x

3650mm equivalent, Canon SD4000IS at 91mm equivalent, ZEISS DiaScope at 40x

As you can see, these four shots, taken from exactly the same position within moments of each other show off the advantages of a two camera Point and Shoot / Spotting Scope rig for wildlife.

To add spice to the mix, the video below was as easy as flicking the capture switch on the Canon SD4000IS from still to video. All these shots, by the way, were taken in pretty poor light, from a boardwalk with lots of traffic. I had to run the video through the image stabilization in Sony Vegas HD to remove the boardwalk bounces…and I am sure the process degrades resolution somewhat.

Forster’s Tern Preening, Bolsa Chica Ecological Reserve, CA: Canon SD4000IS and ZEISS DiaScope 85FL

Finally, I set up on the boardwalk with the Nikon Coolpix at about 160mm equivalent to attempt to capture some Terns in flight. I used my self programmed Flight and Action scene mode (saved to the User mode on the Coolpix), but the birds were moving so fast I had to back well off on the 810mm reach. These are cropped from full frame.

All the still shots were processed in Lightroom for Clarity and Sharpness.

I am not attempting to convert conventional long lens photographers with posts like this. I am well aware that with an investment of $20,000 or more in an outfit weighing something close to 20 pounds, I could get, perhaps, better image quality over this same range. What this series does for me is to confirm that the equipment I can afford (total, including tripod, around $4500) and am willing to carry (total weight, again including tripod, in the 9 pound range) will produce satisfying results with most any wildlife challenge I am faced with.

If you are like me, you might also be inspired to consider the Point and Shoot for Wildlife solution.

Point & Shoot for Wildlife: Superzooms, Part 2: Wicked Warblers

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I don’t think there is anything harder than photographing warblers during migration, when they are generally feeding frantically to fuel for the next hop, and always, it sometimes seems, at least partially obscured by foliage and branches.

Magee Marsh/Crane Creek, along the Ohio shore of Lake Erie, is a good place, in some ways, to try. The birds are certainly there. In a few hours you can see 30 or more species of warblers every spring, staging for a day or sometimes two, along with Tanagers, Orioles, Thrushes, Grosbeaks, Sparrows, etc., nesting Screech Owls, and resident Rails and Herons. And the warblers are there in good numbers. You can see a dozen Prothonotarys, 20 Blackburnian, 50 Black-throated Green or American Redstarts in the space of an hour. Then too, the persistent will encounter the occasional rare Connecticut, Morning, or Golden-wing. Lots of birds, for sure.

But with that comes lots of birders. And photographers. Hence the “some ways” above. The past two years the Black Swamp Bird Observatory, Ottawa NWR, and Tropical Birding Tours, have organized an event around the phenomenon of Magee Marsh and migration. The boardwalk is often so jammed with binocular and camera wielding humanity that it is literally impossible to move. Little old ladies (and big strong men) get stranded for hours a few yards short of where everyone else is seeing the Connecticut. Even when the press is less, it is not uncommon to find 200 birders and photographers in 100 yards of boardwalk. And tripods supporting 600mm lenses? Don’t get me started on that! While I understand the impulse to drag a 6 foot tall tripod, 14 pounds and 24 inches of lens, and a foot long flash hood out on to a boardwalk with hundreds of birders trying to see warblers (and all the little folk with their 300mm zooms), I can not say that I fully approve. Nothing stops traffic like a tripod blocking half the boardwalk.

It is a unique experience, however you look at it. And, despite my quibbles, one I would not personally miss for anything! In fact I am thankful for The Biggest Week in American Birding…without which I might never have heard of Magee Marsh.

But back to P&S for Wildlife. Given the abundance, but also the the difficulty, of the subjects, along with the press of humanity, the Magee Marsh boardwalk provides the ideal torture test for Point & Shoot for Wildlife. “Wicked warblers” as they would say in my part of Maine. Wicked hard on a P&S. If a superzoom can manage to get satisfying warbler images under Magee Marsh and The Biggest Week in American Birding conditions, it can manage anywhere, any time.

Prothonotary Warbler: 810mm, f5.7 @ 1/1000th @ ISO 160

Full disclosure here: the images that illustrate this post are among the 211 that I processed out of 1650 exposures that I took while in Ohio. That is a keeper rate of about 13%. Some of those 211, certainly, are only good “for the record”…saved only because they are the only decent image I got of a particular species. I used my User selected flight and action mode on the Nikon Coolpix P500, which means that I shot 5 images at 8 frames per second with every press of the shutter release. That accounts, in part, for the large number of exposures…but it also accounts, in part, for the relatively high percentage of keepers. “Wait,” you say, “how is 13% high?” In my opinion, and my experience, anything better than 1 in 10 is a high keeper rate when shooting long lens…even if the long lens is the long end of a P&S zoom…maybe especially if the long lens is the long end of a P&S zoom…and certainly when shooting warblers in the woods…with any camera!

User Flight and Action mode:
full size (12mp)
fine image quality
8 fps for 5 frames
center and continuous focus
center metering
auto ISO and a minimum shutter speed of 1/125 second
hybrid Vibration Reduction
LCD off
zoom fully extended (810mm equivalent)

Even at longest zoom, many of these images were cropped from the full frame.

American Redstart: 668mm, f5.7 @ 1/125th @ ISO 160

Scarlet Tanager: 500mm, f5.7 @ 1/640th @ ISO 160

Rose-breasted Grosbeak: 810mm, f5.7 @ 1/400th @ ISO 160

Chestnut Sided Warbler: 500mm, f5.7 @ 1/200th @ ISO 160

Catbird: 810mm, f5.7 @ 1/125th @ ISO 160

Blackburnian Warbler: 668mm, f5.7 @ 1/500th @ ISO 160

Gray-cheeked Thrush: 668mm, f5.7 @ 1/125 @ ISO 500

The Thrush was taken in very poor light, sprinkling in fact, and the minimum 1/125th setting I use as part of my Flight and Action program caught and pushed the ISO up to 500. Not bad at all! The Black and White that follows is also an higher ISO shot, due to subdued light, but most of the time the P500 managed to hold the base 160 ISO.

Black and White Warbler, 668mm, f5.7 @ 1/125th @ ISO 180

Prothonotary Warbler, 810mm, f5.7 @ 1/640th @ ISO 160

Wood Thrush: 668mm, f5.7 @ 1/125th @ ISO 280

Yellow-rumped Warbler: 668mm, f5.7 @ 1/125th @ ISO 500

Magnolia Warbler: 668mm, f5.7 @ 1/320th @ ISO 160

And three shots of a Golden-winged Warbler…none of which capture more than a piece of the bird, but which you can assemble like a puzzle to see it.

And we will finish (almost) with the obligatory Screech Owl shot.

810mm, f5.7 @ 1/160th @ ISO 160

Just for fun, one last shot of half-dollar sized infant Painted Turtle on the boardwalk at Ottawa NWR. Taken with the macro setting at 500mm. Full frame, uncropped.

500mm and macro, f5.7 @ 1/400th @ ISO 160

I am more than happy with the results of the Magee Marsh Point & Shoot for Wildlife torture test. Certainly I might have bettered these with a DSLR and longish lens, but it would have been much more unwieldy on the boardwalk, and much less flexible (no zoom for one thing). Wicked warblers. Bring them on!

Point & Shoot 4 Wildlife, Superzooms: part 1

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So, having priced a DSLR and a 600-800mm lens, and having seen a few over burdened photographers in the field, you are wondering, if you are anything like me, if there are alternatives…something less expensive…something more physically manageable as you are out and about…and maybe even something more flexible.

Enter the sophisticated superzoom Point & Shoot cameras. Superzooms are sometimes called “bridge” cameras…they are larger and more sophisticated (and more expensive) than the mostly pocket-sized P&Ss, and feature, of course, much more zoom range.

I have taken wildlife shots with my various superzoom Point & Shoot cameras over the past several years, beginning with a Sony H9 with, if I remember right, a 12x zoom, and gotten some satisfying results. My Canon SX20IS with a 20x zoom reaching to 560mm equivalent gave me reach enough for many shots, but the .8 frames per second rapid capture mode (yes that is a “.” there…a fractional frame rate) made shooting wildlife very difficult. And of course, flight shots, as the most difficult of wildlife shots, were next to impossible.

Of course, anything is possible if you have cooperative birds and shoot enough frames. This shot is from the Canon SX20IS at Bosque del Apache National Wildlife Refuge where there are, pretty much, birds in the air all the time, and where the geese and cranes, landing and taking off, present predictable targets.  Putting the camera on “sports mode” pushed the ISO, shutter speed, and f-stop toward higher values to freeze the action. 560mm equivalent field of view, f8 @ 1/1250th @ ISO 320.

This shot is also from the SX20IS, at 560mm equivalent, f8 @ 1/400th @ ISO 400.

More sedentary subjects, even if still active, made easier targets. 560mm equivalent, f5.7 @ 1/400th @ ISO 200, program mode.

With these kinds of shots behind me, I was quite excited to see the first of the Back-illuminated CMOS sensor superzooms come out. BICMOS sensors feature better high ISO performance (in theory) and much faster capture time…which allows for both higher frame rates and full HD video. The Panasonic FZ100 was the first, featuring a 600mm equivalent zoom, and 5 frames per second. However, the reviews of image quality were disappointing, and the increase to 600mm over 560mm was just not enough to justify the investment.

Panasonic was the first, but most of the majors now have a BICMOS superzoom in the stable (except for Canon). I gave the Fuji HS20, with its 30x, 720mm equivalent zoom, 16mp sensor, and up to 11 frames per second, a shot (or several hundred), but, as with the Panasonic, the image quality, especially on landscapes, was simply too disappointing for me to carry it as my day-in-day-out camera. The images looked okay at smaller screen resolutions, but an 8.5×11 print, or higher resolution on the screen, they showed way too much water-color effect. Fine details were smeared and blurred. Colors that should have been even gradients were patchy, poster like, etc. The images actually looked more like paintings than photographs.

I did a fair amount of looking at sample images on the internet, and returned the Fuji for the Nikon Coolpix P500, with an 12mp BICMOS sensor, a 36x zoom (23mm to 810mm equivalent), and a rapid capture frame rate at full resolution of 8 frames per second for 5 frames, or 1.8 frames per second for 24 frames (you can actually shoot up to 240 fps at lower resolutions) and full HD video capture.

Of course I also appreciate the 2cm macro, the flip out LCD, the night landscape mode, the built in HDR mode, sweep panorama and assisted panorama, and other in-camera magic made possible by the rapid capture ability of the BICMOS sensor.

I got the camera just in time for two major trips: The first to the Florida Birding and Photo Fest in St. Augustine Florida…with a major Wood Stork, Egret, and Heron rookery and lots of flight shot opportunities…and the second, back to back, to The Biggest Week in American Birding at Magee Marsh and Ottawa National Wildlife Refuge along the Ohio shore of Lake Erie…with abundant opportunity to try the camera on the most difficult of subjects…feeding warblers.

I did have time before I left to assure myself that, while the Nikon P500 might not fully equal the image quality of my Canon SX20IS at lower ISOs, it came very close, while providing superior high ISO performance. Given all the other advanced features of the camera, especially the high frame rate and the 23mm-810mm zoom, I felt I could live with the IQ. Good to go birding!

If you intend to shoot flight shots, or even just active birds, with your superzoom the place to start is probably the Sports mode. Most of these cameras have one. Setting the camera on Sports keeps the shutter speed as high as possible while maintaining relatively small apertures for depth of field, sets the focus mode to center of field and continuous, and generally selects rapid capture of some variety. It may also turn on follow focus if your camera has that feature, and it almost certainly will set the exposure metering area to center of frame. On the Nikon, it also sets the image size to medium (8mp) and the image quality to normal (medium jpeg compression) to ensure it can manage the 8 frames per second capture. After a day of experimentation with Sports Mode and some static testing I determined that the camera, with a Class 6 SD card, would still manage 8 fps on full size (12 mp) and fine image quality (low jpeg compression), so I programmed similar settings into the User Mode (memory) to create my own flight and action mode. Now when I set the camera on U (for User), it sets to full size, fine image quality, 8 fps for 5 frames, center and continuous focus, center metering with auto ISO and a minimum shutter speed of 1/125 second, hybrid Vibration Reduction, LCD off, and zoom fully extended (810mm equivalent).

As an added benefit, not having to use Sports mode on the Scene setting, I can then leave Scene mode set to Macro…my third most common setting, and have just three stops on the control dial for 90% of my shooting: Program for general shooting (with things like Active D Lighting (extended dynamic range), and Vivid Image Optimization to add punch to landscapes), User for flight and action, and Scene for Macros.

So, how does it work?

620mm equivalent field of view, f5.7 @ 1/320th @ ISO 160. Sports Mode for 8mp, normal IQ.

309mm equivalent, f5.4 @ 1/1500th @ ISO 160. Sports mode for 8mp, normal IQ.

810mm equivalent, f5.7 @ 1/640th @ ISO 160, User Flight and Action mode, 12mp and Fine IQ.

668mm equivalent, f5.7 @ 1/125th @ ISO 180. User Flight and Action mode, 12mp and Fine IQ (note that the 1/125 second minimum pushed the ISO to 180 to maintain exposure).

500mm equivalent, f6.3 @ 1/800th @ ISO 160, User Flight and Action mode, 12mp (cropped), Fine IQ.

810mm and Macro, f5.7 @ 1/100th @ ISO 160. Program mode. 12mp and Fine IQ, Vivid Processing.

None of these shots, very likely, are publication quality in the magazine sense. They might or might not look okay at 300dpi on the printed page…but that is not what I am up to. I am out there to enjoy the birds and taking pictures with equipment I can afford and am wiling to carry.

And, as an added bonus, I get to use the camera for shots like these.

Night landscape mode: three images taken automatically in a fraction of a second, and stacked in camera for sharpness and color.

180 degree assisted, full resolution, panorama…stitched in PhotoMerge in PhotoShop Elements 9.

Macro from less than 1/2 inch. 32mm equivalent, f3.7 @ 1/1000 @ ISO 160. Macro mode.

Backlight mode with HDR on…three exposures stacked for extended dynamic range in camera, processed for clarity and levels in Lightroom.

So, yes, it works. The Nikon Coolpix, standing in as the representative of the new BICMOS superzoom cameras clearly (to my mind) demonstrates the potential of the class for effective wildlife and general scenic photography. With a zoom range from 23mm and super macro to 810mm equivalent (over 900mm on some cameras), rapid capture up to 8 frames per second (even faster on some of the superzooms), and all kinds of in-camera specialty modes, today’s superzooms pack a huge range of application into a very small (comparatively) and inexpensive (relatively) package. To my mind, that makes them the ideal field companion for the aspiring wildlife and nature photographer, at least those who are in it for the fun of it.

Will a BICMOS Superzoom substitute for the professional level full frame DSLR and the 600mm IS lens with 2x extender shooting from a blind…no…of course not. Auto focus is slower and not as accurate, for one thing, manual focus is a non-starter, and the small sensor is pushing the limits of what can be done for both noise and image quality. But, they are certainly a lot of fun and will bring home, often enough, images that will satisfy any but the most demanding of photographers and viewers. To me the most important word there is fun! I am still an amateur. I do photography, specifically nature and wildlife, because I love it…it has to be fun.

In the next post, we will look at Superzooms in the ultimate wildlife test…catching feeding warblers in deep forest during migration!

Point & Shoot for Wildlife: Digiscoping

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(This article originally appeared on my Point & Shoot Landscape blog in December of 2007. It has been revised an up-dated here.)

Major advantages of P&S digitals are, of course, their compact size and low weight, their simplicity, and their relatively low cost. They are “carry anywhere/carry always/anyone can use and own them” cameras.

However, when most people think of wildlife photography, they immediately get a mind’s-eye-view of a Canon DSLR on the end of a…well…what appears to be a cannon. Last time I checked, a Canon f4 600mm stabilized lens weighed almost 12 pounds and cost $9000, and, despite its stabilization, needed to be mounted on $500 tripod to work right. It has the reach for larger mammals in the field. Intimate portraits or close-ups of smaller creatures like birds require a 1.4-2x extender (another $200 and several ounces more) and, most often, days of field-craft…generally involving long hours sitting in blinds.

Anything but simple, easy, and affordable.

Today, we have a crop of newer P&S digitals with 30-36x zooms which reach into the 800mm plus equivalent range. We are speaking of 35mm equivalents…the focal length that would be required on a 35mm camera to equal the magnification of the P&S lens. It has to do with the difference in size between the digital sensor and 35mm film. You can fill the small sensor with a much shorter lens than it takes to fill the 35mm frame, so that the 144mm lens on your super-zoom produces the same size image of the animal within the frame as a 800mm lens would on a 35mm camera.

800mm is more than adequate for frame filling images of larger mammals…and even smaller animals that will allow a close approach: cooperative reptiles, bigger butterflies…and larger birds (or even at least somewhat cooperative smaller birds).

And, of course, if you want to employ the same level of field craft necessary with the DSLR/long lens combination, you can get more intimate portraits in more natural settings, even of birds as small and active as warblers. Many of these super-zoom P&Ss have built in image stabilization, similar to the big Canon lenses, which, makes a tripod unnecessary. How can you beat that?

For more on using today’s superzooms for wildlife, see Point & Shoot for Wildlife, Superzooms: Part 1 and Part 2.

Of course, even 800mm is not all that long a lens. If you really get into wildlife photography, and you don’t want to go the long lens and blind route, you are quickly going to want more reach…to be able to take images from further away, or at least fill the frame from further out.

What many of you might not know is that most P&S cameras, when combined with a relatively inexpensive, fairly light weight, high quality spotting scope and a decent tripod, are capable of wonderfully satisfying wildlife images, right up to frame filling portraits of sparrow-sized birds like the one at the head of this article.

Dia65 (4 of 5)It is called “digiscoping” and birder/photographer/wildlife types have been doing it for a number of years now. We have a fairly large community of digiscopers, 100s of web-sites dedicated to digiscoping, forums specifically for digiscopers, and at least 4 digiscoping flickr groups. Links are provided at the end.

“Relatively inexpensive, fairly light weight, spotting scope and decent tripod” are, of course, relative terms. Inexpensive compared to a 600mm Canon lens ($3000 vs. $9000). Light weight compared to the same (4 lbs vs. 12 lbs). And we are still talking a $500 tripod weighing another 4 lbs.

There are less expensive spotting scopes on the market…however, photography is much less forgiving than the human eye. We might accept the flawed image of an inexpensive scope while looking at it in real time. A photograph through the same scope freezes every imperfection and makes it visible for eternity. If you are going to digiscope, you need the best scope your budget will encompass. Skimp on the P&S camera if you have to, but get a good scope.

Zeiss 034bHow does it work? Simple. Because the sensor of a P&S digital camera is about the same size as the retina of the human eye, you can put a P&S right behind the eyepiece of a focused spotting scope, where the eye normally goes, and take a picture of what the eye would see! That’s it. That’s all there is to it.

Given today’s P&Ss, the auto focus and auto exposure work just as well through the eyepiece as they do in normal use. Not all P&Ss work for this. In fact, the same super-zooms that are ideal for general nature, creative, and landscape imaging do not work at all for digiscoping. The zooms are just too long and you never do get a full frame view through the scope. Smaller, more compact, 1-3x zoom P&S work best.

Features you would look for: low lag time between shutter release and actual image capture; big, bright, sharp lcd; and a decent burst or continuous shooting mode. Todays Back-illuminated CMOS sensors are capable of 4-5 frames per second, and HD video capture as well. The scope provides a lot of magnification, so sensors in the 8-14 mp range are all you really need…and an 10 or 12 mp sensor will allow higher shutter speeds and show lower noise than the new crop of 14-16mp sensors.

When hand holding the camera behind the lens you will quickly find that the limiting factor is how still you can hold the camera. Digiscopers quickly came up with home made adapters (generally involving PVC pipe fittings and assorted bottle caps, bits of wood, and a quantity of black tape) to center the camera behind the eyepiece and hold it steady. Enterprising folks offered their services to fashion more commercial solutions, and as of today, most makers of high quality spotting scopes also provide some kind of adapter for mounting small digital P&Ss behind the eyepiece.

When you get to the adapter stage, then another feature of the P&S becomes important. Many of the adapters out there require front filter threads, or a filter adapter on the camera. Fewer and fewer P&Ss have such threads or such adapters.

Dia65 (3 of 5)There are platform style adapters that do not require filter threads. These tend to be larger and clunkier than screw-on-over-the-eyepiece adapters, but they have the advantage of working with any P&S camera. Some, like the Zeiss Digital Camera Adapter, also allow you to mount the camera on the scope full time, and to swing it out of the way when you want to focus or simply observe. (see photo)

Finally, no matter what kind of adapter you use to hold the camera behind the eyepiece, you are going to want some kind of remote shutter release. It is very difficult to get sharp images when you are moving the camera every time you press the shutter. There are vendors who make universal cable release brackets that adapt a regular 35mm cable release to a P&S. They work. (see photo for example) (Actually, with the advent of BICMOS sensors and higher frame rates, the remote release is less important. You can fire off a burst of 5-8 frames and pick the sharpest one.)

Digiscoping has some primary advantages over conventional long lens photography. The reach is longer, so you can fill the frame from further away. This makes field craft less critical, and practically eliminates the need for blinds, but, just as importantly, it makes your work less intrusive…less disturbing to your subjects. The equipment is considerably smaller and lighter, so you are more likely to carry it out into the field. It is also considerably less expensive, which opens wildlife imaging to a much broader range of people (like me).

At a conservative estimate there have been more high quality images of wildlife, especially of birds, taken since the discovery of digiscoping than were taken in all the time up to then. Don’t believe me? Browse around on the internet. Do a search for “digiscoped” or “digiscoping” on any of the image sharing sites. You will be amazed.
My creation

There is way too much to the art and craft of digiscoping to cover here, and that’s not my intention. I just want to make you aware of the possibility. Don’t sell your P&S short. With an investment, you can use it for wildlife photography, and very satisfying wildlife imaging at that.

The images that follow were taken with the Canon SD4000IS, 10mp Back-illuminated CMOS sensor Point & Shoot behind the 15-56x Vario Eyepiece on the ZEISS DiaScope 65FL spotting scope.

5000mm effective field of view, 1/320th @ ISO 400, f14 effective.

1500mm effective, 1/60th @ ISO 500, f5 camera limited.

1100mm effective, 1/25th @ ISO 800, f4 camera limited.

3600mm effective, 1/1000th @ ISO 125, f10 effective.

1700mm effective, 1/200th @ ISO 125, f5 camera limited.

3000mm effective, 1/640th @ ISO 125, f8 effective.

940mm effective, 1/25th @ ISO 800, f4.5 camera limited.

1800mm effective, 1/320th @ ISO 125, f5 effective.

3300mm effective, 1/80th @ ISO 200, f9 effective.

1200mm effective, 1/100th @ ISO 250, f4.5 camera limited.

Digiscoping is just getting started…or maybe I should say digital imaging from a distance, or maybe even wildlife P&S. The best is yet to come. Like I always say: watch this space.

For more, visit any of these sites. And be sure to read my article on the current state of the art equipment…as far as I am concerned. My Equipment.

Carl Zeiss Birding

Digiscoped on Wide Eyed In Wonder.

Mike McDowell’s Birding and Digiscoping Blog

For Digiscopers on flickr

The digiscoping forum on BirdForum.net

digiscopingbirds@yahoogroups.com

for universal cable release brackets