Semipalmated Plover on Seaweed in Light Fog

Although the overall number of shorebirds seen year to year during my five back-to-back Deluxe Atlantic Puffin Workshops continues to decline, we had some fantastic encounters for those willing to pry themselves away from the puffin action. This Semipalmated plover was in a small mixed flock with a couple of white-rumped sandpipers. We lowered our cameras and enjoyed the colourful seaweed at low tide.

The Semipalmated plover (Charadrius semipalmatus) is a fascinating shorebird known for its unique appearance and behaviour. Its name comes from the partial webbing, or "semi-palmations," between its toes, which helps it navigate soft mud and sand. These birds are long-distance migrants, travelling thousands of miles from their Arctic breeding grounds to their wintering habitats along the coasts of North and South America. Unlike some shorebirds that probe the mud for food, semipalmated plovers are visual foragers. They employ a "run-stop-peck" hunting strategy, darting forward to snatch insects, crustaceans, and marine worms they spot on the surface.

Semipalmated Plover on seaweed in light fog (Charadrius semipalmatus, Pluvier semipalmé, Chorlitejo semipalmeado, SEPL) from my Deluxe Puffins Galore Workshop, Mingan Archipelago National Park Reserve, Quebec, Canada. Image Copyright ©Christopher Dodds. Sony a1 Mark II Mirrorless camera & Sony FE 600mm f/4 G Master OSS Lens with Sony FE 2X Teleconverter @1,200mm. ISO 2,000, f/8 @ 1/6,400s Manual exposure. Full frame image.

Razorbill Wing Stretch and more Kudos

For five incredible Deluxe Atlantic Puffins Galore Workshops, the weather for photographing Atlantic Puffins was nothing short of spectacular. We were treated to a variety of conditions, from cool, windy days that created a thrilling spectacle of puffins swirling effortlessly through the air, to serene, foggy mornings where the water was so still it created a perfect mirror for magical reflections.

Overall, the weather was wonderfully cool and crisp, but we were fortunate enough to avoid the smoke from the devastating wildfires that have plagued so many other areas. One unforgettable moment was watching a magnificent Razorbill preen and stretch, seemingly putting on a show for our cameras. As the fog lifted, a glassy sea was revealed, providing a stunning backdrop to the scene.

More Kudos:

I recently attended Christopher’s Deluxe Puffin Workshop and it exceeded all of my expectations.  Christopher;’s instruction was knowledgeable, patient, insightful and tailored to all skill levels.  The location was superb with made the learning experience both engaging and enjoyable.  The balance between technical instruction and hands-on practice was perfect, allowing me to immediately apply what I learned.  I walked away not only with new skills and techniques, but also with a renewed sense of inspiration and confidence in my photography.  I highly recommend any of Christopher’s workshops to anyone looking to grow as a photographer or elevate their craft.  This is my second workshop with Christopher Dodds, but it will not be my last!
 - Monica Slack San Diego | CA |USA

Razorbill Wing Stretch (Alca torda, Petit Pingouin, Alca común, RAZO) from my Deluxe Puffins Galore Workshop, Mingan Archipelago National Park Reserve, Quebec, Canada. Image Copyright ©Christopher Dodds. Sony a1 Mark II Mirrorless camera & Sony FE 600mm f/4 G Master OSS Lens with Sony FE 2X Teleconverter @1,200mm. ISO 12,500, f/8 @ 1/5,000s Manual exposure. Full frame image.

Beyond the Basics: Mastering Puffin Portraits in the Golden Hour

A recent image from my "Deluxe Puffins Galore and So Much More" workshop: a genuinely unforgettable photographic experience. Picture this: the last rays of the setting sun bathing everything in a glorious golden light, the air filled with the gentle calls of seabirds, and a charismatic Atlantic puffin posing just for us amidst a tapestry of golden lichen-covered rocks. It was pure magic!

There is a general rule of thumb for photographers: point your shadow at your subject (stand with your back to the sun) for even front lighting on your subject. While this is a solid foundation and a good approach in harsh light, real artistry often lies in understanding when and how to deviate from it. Embracing the low angle of the golden hour sun was key to capturing a truly striking portrait.

By allowing the light source to move slightly off that direct "shadow-pointing" angle, subtle shadows began to dance across the puffin's charming face and plumage. These weren't harsh, distracting shadows but rather gentle gradations that sculpted its features, adding a beautiful sense of depth and dimension to the image. The contrast between the warmly lit areas and the soft shadows brought the puffin to life in a way that flat, front lighting does not achieve; light illuminating each feather and a subtle offset shadow defining its form.

To further enhance the intimacy of the portrait, I encouraged everyone to photograph at, or even slightly below, the puffin's eye level. This perspective connects with the subject, making the viewer feel like they are sharing a moment with this incredible little bird. It eliminates the feeling of looking down upon the animal and creates a more intimate portrait.

And then there was the background – a photographer's dream! The rocks on Lighthouse Island are adorned with vibrant, golden lichen, creating a naturally beautiful and textured backdrop. To truly make our puffin pop, we employed a shallow depth of field by shooting wide open on our lenses. This technique beautifully blurs the lichen-covered rocks into a wash of warm, out-of-focus golden orange, allowing the puffin's sharp details and vibrant colours to take center stage. The contrast between the crisp subject and the dreamy background truly made the puffin pop.

Witnessing the joy on the workshop participants' faces as they reviewed their images – the golden light catching the puffin's eye, the rich bokeh of the lichen, and the intimate connection created by the low angle – was incredibly rewarding. It was a perfect reminder that while fundamental rules are helpful, understanding how to play with light and perspective can elevate a good photograph to an extraordinary one. The puffins of Lighthouse Island, bathed in golden hour glory, certainly delivered a masterclass in the art of portraiture.

Atlantic Puffin Portrait in golden light (Fratercula arctica, Macareux moine, Frailecillo atlántico, ATPU) Mingan Archipelago National Park Reserve, Quebec, Canada. Image Copyright ©Christopher Dodds. Sony Alpha 1 Mirrorless camera & Sony FE 600mm f/4 G Master OSS Lens with Sony FE 2X Teleconverter @1,200mm ISO 500, f/8 @ 1/1,000s Manual exposure. Full frame image.

Kestrel in flight with a Cricket

Another frame from a sequence of an American Kestrel in flight returning to perch in a tree near me with a cricket in its bill. You can see an earlier frame from the sequence by clicking this link to my blog post, American Kestrel in Flight with a Cricket Snack. We sure were spoiled with epic light during the Better than Bosque Workshop!

American Kestrel in flight with a cricket snack (Falco sparverius, Crécerelle d'Amérique, AMKE) from my Better than Bosque workshop. Bosque del Apache National Wildlife Refuge, San Antonio, New Mexico, USA. Image Copyright ©Christopher Dodds. Sony Alpha alpha 1 Mirrorless camera & Sony FE 600mm f/4 G Master OSS Lens with Sony FE 2X Teleconverter @1,200mm ISO 2,000, f/8 @ 1/5,000s. Manual exposure.

Happy New Year and Thank you

Best wishes for a healthy, happy, and peaceful New Year ahead. Thank you for visiting my blog, buying my prints, joining my workshops, attending my public appearances and interacting with my images on Facebook, Instagram and Vero.

There is only one spot left for my winter owls galore workshops due to cancellation:

Bald Eagle Portrait on black

Here is another portrait of a Bald Eagle made with the Sony FE 100-400mm f/5.6 G Master lens at 400mm. The dark background makes for a much more dramatic image :)

Northern Harrier

I was in love with the backgrounds over the Maximilian sunflowers during my Best of Bosque workshop: So much more artistic that the contrasty, ugly and distracting bush-honed corn fields of years past.

Horned Puffin in flight over the Bering Sea

Once again, the Sony Alpha 1 paired with the 200-600 zoom lens proved to be the most versatile kit during my recent Saint Paul Island workshop. It is easy to carry around and hold all day during our long cliffside shoots. Here I am only a few seconds before making the Horned Puffin image above:

Canadian nature photographer Christopher Dodds high atop the cliffs of Saint Paul Island (The Pribilof Islands, in the Bering Sea, Alaska, USA) with a Sony Alpha 1 camera and Sony 200-600mm lens. June 27, 2022 Image courtesy and copyright Dale Johnson - Thanks, Dale :)

Atlantic puffin silhouette

Last minute opportunity for my Deluxe Atlantic Puffins Galore and so much more workshop

There is only one room left for my recently announced August 10-13, 2022 Deluxe Atlantic Puffins and so much more workshop. If you want to master birds in flight photography and create a complete portfolio of Atlantic puffin images, then this is the trip for you.

July 29 to August 1 SOLD OUT

August 1 to 4 SOLD OUT

August 4 to 7 SOLD OUT

August 7 to 10 SOLD OUT

August 10 to 13 ONLY ONE ROOM LEFT!

Sony a1 review

I have spent a week immersing myself in the wonder of the new Sony Alpha 1 digital mirrorless camera from the perspective of a bird/wildlife/nature photographer. If you want the quick and easy answer from the end of the review: This is the best action, birds-in-flight, and all-around digital camera that I have ever used. Amazing image files, blazing-fast auto-focus, and capture rate: it is the new King of the digital camera world. There is no more need for a separate high-speed and high-resolution camera body: this is the all-in-one professional camera body we have all been waiting for and Sony has delivered..... and I haven't even mentioned the 8K video yet ;)

I'll skip copy & pasting all of the camera's specifications that can easily be found on the Sony A1 product page, so click HERE to see them all. What I will do is talk about the things that are important to me and what I do.

Like the a9II, the A1 feels light and comfortable in my hand. I have grown to love the small form factor, and intuitive dial and button placement. The new color touch menu has carried over from the Sony a7SIII, and I find it easy to navigate and in a logical order.

The new Electronic View Finder (EVF) is better than anything I have ever seen in a camera with 9 million dots and .9X magnification; it is big, bright, and fast. The high-quality mode is spectacular.

The new bird eye auto-focus is exclusive to the a1, and works remarkably well. I programmed a button to instantly switch between bird and animal eye auto-focus. I would have loved to test it on small and fast birds in flight, but seasonal variations in available species and local COVID-19 restrictions made that impossible. I was impressed with the bird eye AF on the larger owls and raptors that I was able to find, but they are large and fly relatively slowly. The a9 and a9II both excelled here, so I expect that the a1 will be just that much better. I was able to verify the autofocus acquisition speed is greatly improved over the a9 and a9II, which was already extremely impressive. Sony states that the camera can confirm sharp focus 120 times per second (twice as fast as the Sony a9 and a9II). This not only helps the camera snap into focus quickly but ensures AF accuracy between frames when shooting at 30 FPS: truly mind-blowing performance! I have seen a few reviews that mention the camera sometimes jumps between the bird's eye and shoulder when pointed at a static bird on a perch, and I did experience a little of this particularly when photographing a dark bird with dark eyes and especially while using extreme focal length (particularly the 200-600 with the 2X installed), but the overall performance is what is important to me, and it is exceptional: noticeably better than the already impressive a9 and a9II. I do expect that there will be a fair number of people complaining about this feature (bird eye auto-focus), as we should have reasonable expectations: if a crow or raven is gliding towards me at a high altitude, I wouldn't expect the camera to be able to see, let alone lock onto its eyes - smile.

I immediately set the camera to compressed RAW to be able to achieve the full 30 FPS capture rate and the resulting +/- 57MB files are better than anything that I have seen: More details, less noise, richer color, and more dynamic range. I was unable to see any difference between images made using the electronic shutter and those made using the mechanical shutter. I want to be crystal clear that I won't be able to extract the most out of the RAW files until Adobe or Capture One releases an update to their RAW conversion software. Sony's Imaging Edge Software is the only way I can see the files, and I have always been able to squeeze so much more from either Adobe or Capture One (perhaps due to my lack of understanding of the software, rather than software shortfall, I dunno). So I do expect to be even more impressed as these software updates are released.

I had planned to release my mini-review earlier this week but wanted to hold out and see if anyone found any weaknesses that I could debunk here. I am glad I waited because a lot of attention went to a review video that states that the camera is not capable of shooting 30FPS. It turns out that they used the Sony 70-200 f/2.8 GM lens which needs a firmware update to achieve the full 30FPS that will be released sometime soon. I tested the a1 with my workhorse lenses (and teleconverters) and can confirm that the following lenses and teleconverters are all capable of capturing 30FPS in COMPRESSED RAW (The capture rate is slower using uncompressed RAW):

Sony 600/4 GM

Sony 600/4 GM with 1.4X

Sony 600/4 with 2X

Sony 200-600

Sony 200-600 with 1.4X

Sony 200-600 with 2X

An interesting find was how well the affordable 200-600mm worked with both the 1.4X and 2X, and it was able to maintain the 30FPS capture rate with the 2X in APS-C mode which resulted in a 23-24MB file during my tests. The 200-600 is a great and affordable lens that costs about 20% of the prime 600/4 GM, so there are trade-offs. The AF acquisition and tracking speed are slowed down and the image quality is slightly degraded when the 2X is used, but it still offers remarkably good results. It is not likely I would use the 1,800mm for birds in flight because there would be too much atmospheric compression degrading the image quality, but I do see using this combination extremely close for incredible close-up details at the minimum focusing distance of the combination.

I am grateful that the two card slots accept both CFexpress type A or SD memory cards. While I used the CFexpress type A card that came with the loaner unit for most of my testing, I did test my 128GB Sony SDXC SD Type G memory cards to see if I needed to invest in new cards. There was little to no difference in capture rate, but an obvious difference in write speed. The camera has an impressive buffer, and I don't typically hold down the trigger for more than a short burst, so I don't expect to be buying new memory cards anytime soon. I can confirm that you can now change menu settings and review images while the camera writes to the memory card to clear the buffer.

Another bonus is the a1 used the same NP-FZ100 battery as the a9 and a9II, so I was pleased that my extra batteries will still be useful.

In closing, this is the best action, birds-in-flight, and all-around digital camera that I have ever used. Amazing image files, blazing-fast auto-focus, and capture rate: it is the new King of the digital camera world. There is no more need for a separate high-speed and high-resolution camera body: this is the all-in-one professional camera body we have all been waiting for and Sony has delivered..... and I haven't even mentioned the 8K video yet ;)

Stay tuned to this blog for images made with the Sony a1.

Canadian Nature Photographer Christopher Dodds with the new Sony a1 camera, Sony 600mm f/4 GM lens and Sony 2X extender.