Getting Started Photographing Wildlife with Simon Whalley | Cumbrian Arts Online | Skillshare

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Getting Started Photographing Wildlife with Simon Whalley

teacher avatar Cumbrian Arts Online

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (40m)
    • 1. Episode 1 - Introduction

    • 2. Episode 2 - Approaching Wildlife

    • 3. Episode 3 - Be Prepared

    • 4. Episode 4 - Gear And Knowledge

    • 5. Episode 5 - Case Studies

    • 6. Episode 6 - Capturing Life

    • 7. Episode 7 - Beacon Red

    • 8. Episode 8 - Camera Basics

    • 9. Episode 9 - Wrap Up

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About This Class

Wildlife photographer Simon Whalley takes you through his process for photographing wild animals.
Simon will also take you through some practical tips, how to engage with wildlife safely and respectfully, and how he sets his camera up to take the best shots.
Includes several studies of his own work, including his project Beacon Red, an insight into the red squirrels here in Cumbria.

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We get together with the skilled local artists up here in Cumbria, and record unique, exclusive sessions, and put them online for audiences to enjoy the world over.

As a result, when you watch a class from Cumbrian Arts Online, you are directly supporting real, professional artists, and their role in the wider arts scene.

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1. Episode 1 - Introduction: Hi, welcome to photography masterclass about wildlife photography. My name is Simon Wally, and I'm based at Broome Hall just outside pen writhe in the Lake District, UK. This is my gallery, the gallery for nature I'm going to do today is share a few experiences, really pure of my experiences with you. Hopefully that will improve your photography, your wildlife photography, and you'll enjoy that. I suppose I'd benefit wildlife photographer for about ten years. And what we want you to do with the video here was just to share a little bit of experience. Some points which have come up. Hopefully that'll help you. First really to get across. I guess you can't pick a wildlife photographer if you don't love nature and I can't teach you to love nature anything. It's something I think that just needs to grow on you or you need to work upon. Is there for a lot of us as wildlife photographers, we do actually love nature and I love getting out there. And I think if you want to develop that, then you haven't had the opportunity in life. And really that's just about getting out there, going and finding some way. Even if you live in a town where there's a bit of wildlife parks, just taken a bit of time and wondering, seeing what's there. A couple of trillion in them. Main point as a master classes that I just wanted to talk a lot quite a bit about field craft. And by that, I mean the skills you need to get close to wildlife. And secondly, some information about a camera. Your camera, whichever camera using, don't worry too much about him. The best equipment. I think what I try and get across in the video in the world, what we're covering today is just that you get out there, you enjoyed whichever camera you can afford or whatever moment in your life. You have a go and you use it, and you experiment. That's the way to learn. Their way to learn is not about reading lots of things and staying indoors. If you want to be aware of life photographer. It's about going outside and seeing what happens. Experimenting. And there's the piece, as I say, not necessarily to do with the camera at all. But we're talking about wild animals here. You've got to go and meet them on their terms. They won't necessarily come to you. They might do with a few things, but it is about kind of meeting creatures in their natural habitat. And I think that's part of the GI, That's the Jaya photography really. Well, I photography that you're out there and you're enjoying nature. You connecting more with nature and the gallery here. That's where I've tried to help people do sort of reconnect with nature. It helps us all, we all enjoy it. 2. Episode 2 - Approaching Wildlife: We're going to cover a number of case studies. So there'll be quite a lot of footage around the red squirrels I'm working with at the moment. And a book I'm working on called Beacon read previous to that kind of study number of creatures in God would, I would call pick images that I've been pleased with. There might not be the best in the world, but I'm pleased with them, actually in a commercial sense to do sales. So that's, I guess two measures of success, if you like, one that you personally like them, until that if you want to get into selling photography, you can. Wildlife photography is a difficult market to make money, and so don't think you're going to make lots of money. I think they kind of enjoyment pieces the way to go really. There's another case studies, this red squirrels beacon read, there's a tree creeper that I got one image of which I love an image, it doesn't sell a child, but I love it. There's a badger budget set that I've studied. A king fisher that I've studied and got some nice images of that was actually shot from a hide. So there'll be some questions for you around whether you want to work in hides or whether you wanted to just work what I would call work in nature. There's another picture which I have, another case study of an owl, barn owl, fantastic creatures. If you ever get a chance to observe burnout barn owls, take it. I think that's a good point I wanted to get across really is when creatures were around, grasp the opportunities to get close to them. So a barn owl about there may only be around at certain times a year. There may be only ran at certain times a day. You need to think about that, think about when they're about and enjoy those opportunities. Suddenly birds when the nesting, they're going to be coming back to the nest quite a bit. So you're gonna be able to get fairly close. But there's a point I wanted to cover and work on. Just think about your interaction with which other creature you're trying to photograph. So that really means about just understanding when creatures may be distressed. Thinking about that, our aim really is to get a good images. Take good photographs, enjoy that experience without distressing the animal. It's relatively easier space in some places in reserves to get quite close to animals and then potentially distressed and with your actions scared him. That's not what we're aiming for. We're aiming to get some great images without causing any distress to the animal. That's really a space of other things we're thinking about it is you've been observing what's going on with the animal, observing the animal closely and understanding if an animal is moving fast on the whole and it's moving quickly away from you each get scared. That's esophagus sign, isn't it? So then in some senses you could argue that because if photography we've done something wrong, we just need to think about the way we work in. I guess. Don't be too worried because I've worked with the red schools I'm working with at the moment and they've been scared by a dog that runoff at kind of showered or the dog, squirrels run off. It's shutter portray that it's safe. And 20 to 30 minutes It's come back down again. Being very relaxed. So we may scale animals. We don't want to scare them, we may scare them and I think we can just understand that. And then say right, That's enough for today. Possibly. When I was photographing the woodpecker, that image you'll see where the woodpecker and the check actually poking its head out of the nest, which is the main one that I was really pleased within that sequence of work, I would go and study the nest for about an hour a day and it would make him a nice quiet, piercing cry when it's a bit distressed. So you can kind of tell that times if it was distressed or getting distressed and you start right. Time for me to move on. If you're only there. If the woodpeckers there in nesting and feeding chicks. And you're there for one hour a day maximum over a two-week period? One, it may get used to you a little bit, but also, you know, that's 23 hours when you're not there, you're not scaling it or you're not kind of causing any alarm auto. I guess that's the piece where you may look to use a mobile hide. Mobile hide up just like a temporary camouflage tent. Or to actually arrive. Be very quiet and gentlemen, your movements and to stay fairly still. Sort of failed craft points I'm trying to get across. I think you can't go wrong if you walk slowly. You move slowly and you're very observant and you're quiet and what you do. You'll see that if you do head out in nature in your walk and new crack on a twig cloth and that's enough to scare quite a lot of animals away, especially hairs have done quite a photography with hairs that are easily scared by noise. We're talking about noise in one sense and also speedy movements will scare animals. That's relatively easy as a photographer to stop. Those two things that you're not doing, anything like that to scare him anymore. It's relatively easy to just go slowly. Think about what you're doing, observe what's happening, and to keep quiet. 3. Episode 3 - Be Prepared: I think I suppose wildlife photographer on the whole is a solitary job or past-time or hobby. You may take friends alone to observe at times. But if you're looking to get really good photographs, I think you have to commit to that. I'm gonna get out there and we're gonna commit some time to it. It's just gonna be about me and wildlife and that's superb. Just fantastic thing today. And hear a lot these days about well-being is so relaxing to just be in nature and then to be in nature and just observe in wild creatures doing what they do, live in their lives. So enjoy that. Take that moment. If I'm about to embark on looking to get some new photographs, are some new images are dedicated studio to get some good images. What I've done over the years is I've actually walked, found some local walks. Sometimes, quite often where other people don't go or if people do go there, it's a popular walk. I'll sort of find those small details or paths aren't quite as troubling as the main paths. Walked slowly. Go often. It's interesting, sometimes find yourself a regular walk and keep going. Go once a week, once a day, wherever you can manage, um, and just see what's happening. See which creatures live there. See what they're doing. Try and observe their habits. And you'll start to build a picture and you know, you may want to make notes. Sometimes keep a little logbook. You can keep coach digitally on your phone or whatever these days. Just kind of times and movements where the animal was when it came, when it left, what time, a day, etc, and how it behaved. I guess. As we do this more and more and how alive we kind of understand that. And perhaps you don't need to make the notes as much. But even now with the squirrel that I'm photographing for a book, I kind of I always make a note now what time it arrives. I was just curious, ready to start, see in terms of patterns of behavior, what was going on. Just read quite a bit about the creature that you're looking at. So if you come across a tree creeper, I'm one of your works and anything what it looks like that tree creepers here quite a lot. Why not read up about it and go on the Internet, learn about that animal? Because there's so much that we don't know or so much that perhaps we as individuals don't know, but other people do now think about the size on the whole, humans are bigger than a lot of these creatures. I do do some photography work each year up in Martin del, which is a valid near here with a red deer herd. Now they're big thing may say it, but on the whole, a lot of creatures that I've photographed are quite small so that our size to them is massive. So again, just thinking about how you're going to stand up. You're going to sit down, sitting against a tree. Quite often just blending into the background a bit all mixed and doing some observational work, having to see what's going on, what's happening. The things they'll send your home from wildlife photography are the light goes dark. You getting cold on the whole as a photographer. So make sure you've got a reasonable equipment. Think about, this is just basic stuff for going out in the outdoors. That you've got your waterproof, you've got your heart, your gloves. You can be warm and it can be worn for a number of hours. Of my friends said to me, I've got a lot of patients will, I liked being out in nature, but the thing that will send me home, he's willing to cold fingers and metallic on so-called that I can't feel them anymore, can't operate the camera. And it's me that goes home. On the whole awhile creatures can survive out there. They are doing. There's something about just preparation work there. I have a nice dark color, looks like you tend to see now I'm just in dark clouds. It's just a bit about blending in and you can buy camouflage clothing if you want to. Put a bit about blending in dark colors, graze black screens. Just in essence, you're not scary in an animal. I'm not an expert on what an animal can see in terms of colors. But on the whole, brighter colors are likely to just make you more noticeable to them. And they'll see a bit of your movement going past. And that might be enough to scare them away. The darker color is a good stuff to go for. A really good, better equipment. Keep you warm and you can get out there and you can enjoy being out there. You'll give yourself a period of time. I'm quite often out for probably an hour minimum. Sometimes for 34 hours, half day, sometimes even a full day. You've got to be prepared for that. You got to enjoy that. Also bit about what snacks that we got with you always worth having some snacks that you're happy and you can stay, stay put, and enjoy that experience. Where there, as I say, it's in a hide, in a temporary hide or just sat against a tree. 4. Episode 4 - Gear And Knowledge: I tend to prefer not to be in height. You actually feel, I think you feel much closer to nature and to the creature you're working with. This preference and the images that were shown you today, the image of fisher was taken from a hide. King. Fishers are very flighty birds, and it was probably the only way I could have got an image and being comfortable myself. So that one is taken from a hide. All the others aren't. All the others have got. Just by observing where creatures were, the animals were the badger, the barn owl, tree creeper, that red square root, etc. Placing myself in a place where I wasn't scaring them, will come on and have a look at my camera. You need a good zoom lens. You don't need, I think, lots of arguments that you have to have a certain particular camera. You just need to zoom lens if you want to get close to animals, probably 400 mill, at least. So I use a Canon L series lens. Want 400. That seems to be pretty good for most people. Seem to you, that works pretty well and I find it works pretty well. And you can be the judge of that with the images, some game. But again, there's so much camera equipment these days and you can buy their equipment, second-hand things. You've got to go out and buy new equipment and say, well, we'll have a look at my camera a little bit. But what I would really advise is that you take a bit of time if you're going to buy some equipment and then you just get to know that equipment. This isn't a technical masterclass. I learned by, I'm listening to a few of the people, reading some articles. I'm self-taught, reading articles, listening to people, seeing what other people are doing. Then mainly about experimenting. You'll have to understand things like shutter speed, depth of field, ISO, those terms. If you just take them one at a time and think about how you're building up your image. You can do most of that yourself. And you can build up the knowledge that you need to take good pictures. It'll take time. I think somewhere there's something written that you need to do 10 thousand hours to become an expert at anything. It will take time. But I guess what I'm trying to get across to you is it's like enjoy that learning times you'll be a bit disappointed. You might not quite get the image that you thought you were going to get. But that's part of photography and power of working with wild creatures. They're not always gonna do what you want to, the times that you want to do them. You have to. I guess the thing to do is just to accept that. Because if you don't, you're just going to have a very frustrating time being a wildlife photographer. And it's not. It's about enjoyment. You may make some money from it. You may sell some nice pictures. But to me it's about enjoying that process, getting close to the creature and enjoying nature. And that's something for us as human beings to work on rather than the animals, that frustration we should start to accept. This is our creature behaves. I've got to understand that. There's lots of books on photography that talks about light and light is crucial. Sunlight is your thing and I'm fantastic. So you need to think about sunlight. You need to think about where the sun is gonna be at certain times of day. Use the Met Office weather forecast to help me decide which days I might spend more time out and about. In a phrase, there was craft news when I was looking at things early on was about the edge of the weather. You can get some great pictures. So it's not necessarily just about dawn and dusk, the edge of the weather when it's just shifting from rain to sunshine, all the sums just about to come out and it's been quite dull. And then you creatures there is really going to help get some stunning images. The same image without sunlight could be very different. That's just something we've got to deal with. And I work in the UK, so that's just something you got to live with. 5. Episode 5 - Case Studies: I'd heard reports from my neighbors that they were born. I was close to where I live. I started to think about that. If you ever get the chance to watch a barn owl hunting, It's just fantastic. I again again, the footpath close to home. I started regularly going. I'd heard that there was a barn owl in that area, then saw the band now for the first time, this occasion, it's in a barn house, come out to nocturnal. So the buyer now is coming out to hunt at night. You can't get a good picture on the whole at night. And I'm not one to work with big flashlights or anything with wild creatures. So just again, by irregular thing, that was in February actually, so it's pretty cold in the UK. But I went down regularly 34 o'clock in the evening, maybe from about three o'clock onwards, start to work out patterns of where the band I would come would only come for a short period of time. It would observe you, but it would carry on it something while public that he was hunching over and just for mice involves fairly regularly it would come and sometimes you will be along way away from me or sometimes it will be close to you. Again, just a process of taking your time observing the creature. And then there's, and I went to look there. The image of God, the barn owl flying directly towards me then back off into the woods. I positioned myself, sat low down, and there's an element of hope there that it's going to come and it's going to fly relatively close to you back to where it reached. So aware it crafting, they'll take creatures to a favorite tree to eat them. I got the image and it sells, well, I love it. It's nice tablet. My mom's actually got in her house as well. And it was a fantastic moment. And I think one of the things with wildlife photography, sometimes you miss that moment when you see the creature, but it doesn't sink in jihad beautiful aids. Once you've got the photograph, you can kind of go back to that and look at it over and over again. The budget size only probably actually about 300 yards from where the woodpecker was photographed. So that's a fantastic work for me. I'm not showing that walk. I can see woodpeckers, badgers, red squirrels has small birds like Rennes, etc. I'd observed that there was a bad just said, it's just just that a footpath. And this goes back to our piece of being observant, seeing what's there. In the UK, there's lot of wildlife, wild creatures just live in just off the beaten track. As I like to look at it crashed on the edge of woodlands. And she's of woodlands are great places to go and have a look at. Spotted that there was about just set fairly obvious really big holes in the ground. And also, if you see that there's been craft movement of SEO, you can see that actually the budgets are there. They're clearing out the set that they're going backwards and forwards too. You can see possibly footprints. You can see that it's an active site and the badges are living there. Again, similar to the our budgets are nocturnal, so we are talking again about potentially going down one or two hours before time or before just before the light goes in. And just again, being observant, watching, staying quiet, find in a position where you can get some good images if the budget has come out. Now a lot of people think it's magical. It's just magical, but it almost impossible to get photographs. Don't think it is with a bunch of that. I was there and I learned himself against the post or sat down against the fence posts. I should've got a little bit, just a little tip about equipment. I've got a neoprene maps, which is actually a fisherman's mat. Something nice and warm to sit on. Just means quickly. You can get yourself positioned and be ready to take photographs and you're gonna stay relatively warm. It's quite odds if you sit on damp ground, You're not gonna stay there for long. Yeah. Take that map with me. He looks at chuck it down, sit down. And I'm there and I'm quiet. It's an already and I've got a few snacks in my pockets. Batches. Quite timid creatures, but they good sense of smell and seemed to be disturbed more by noise. So I think that would come out and they could probably tell that I was there. I could probably smell me but not moving. I'm not cause them any distress. After a while they got quite used to me being there and would happily go about their business summer evenings or staff for longer and play when it's cold and I just come out and and get off and start hunting. You've got a brief spell of time that it gets some images of badges. It may only be a short period of time. If anybody comes along. And I remember the budget has been disturbed by a couple of walking along the edge of the Woodland a good two or 300 yards away, just having the chat. So I was close to them and I wasn't disturbed number then argues is that just send them scurrying back into the set. Again. I don't think they're majorly distress the just right. We want a bit more safety. We're gonna go back into our set. That's not a big issue. It's just right now, just something to note, something to learn from, something to think about. Because I say back to our being quiet and staying quiet. I spent probably would have gone down a bunch of his face. On average. I'm just trying to think the quiet a few evenings or went down and saw nothing. But I'm certain period or a good week when it's warm. I probably saw the badger every night about two or three batches every night for six or seven days. And that gives you enough time to observe them, get some good images. And then again, I think It's, we've always got to be mindful of. I've got some images. I'm gonna move away now and leave the badges be for a time. This notion really just blend while creatures live their own life. There's also a picture of a tree creeper that again, on a regular walk, I observed a tree creepy guy just find nice walks. Minute. So joy, isn't it going in a nice wall? This one was done by a river locally. Source paste your stuff where people weren't walk in, sit down, spend about an hour there for awhile, find a nice space, sit down and observe what's happening despite their tree creepy was going regularly to this rotten tree. I could then see that actually was nested in there. Again, observed it. Wasn't that scared of me, knew I was there. Now tree creep has moved pretty quickly. There's a beautiful image that I really like. It hasn't sold. I've never sold it. I've never made a card of it. But I love it. I have it in the gallery here. I guess it's just a joy for me. Tree creeper arriving with insects in its beak. And this kind of, well, I think it's perfectly in focus. 6. Episode 6 - Capturing Life: It focuses an interesting thing to think about when you photography, you probably looking to get the animals sharp. Although, as you'll see with a king fisher picture, which I just talked about in a while, I actually wanted some movement in that image. Or I like the particular image with movement in. That's to do with your shutter speed. It's to do when you're focusing. It's to do with thinking about, do you want the image of the creature sharp, which on the whole you will, on how I recommend you try and I won't say blurred the background, but you're getting a short depth of field so the background may be blurred. It just makes the creature crowd from stand out a little bit more. But there's plenty to experiment. They would depth of field when you're looking at your photography work. So understand depth of field and understand that if something is close behind the animal, it's probably going to distract from your image. There's something about the angles since about thinking about where you're positioning yourself. You've got the creature and there isn't too much right behind it. Or sometimes you can work on such a shutter speed settings, f-stop settings that it's such a short depth of field, even something like some grass close behind his fairly well blurred. So your creature stands out. One of the things I've noticed with good photography, and this is sometimes good wildlife photography. It's just a matter of sort of looked at some degrees, but you kind of like or need a glint in the eye of the creature. He really taught helps the image come to life. That, that's a real live creature. Obviously AES, sometimes a little bit of sunlight just watching our creature moves its head. And then up there's a moment when there's a glint off the eyeball and taken some images, then We're blessed now with fast shutter speeds and we're blessed with quick repeats on our images we can take, you may well just fire quite a few offer that moment. And hopefully you'll get one. Tried to say don't just blast loads of images and hope you get one. I think it is about putting together all the points I've said. But you know, with a lot of these creatures, they move quickly so that, that kind of fast shutter release. And the fast, you can just take a lot of pictures quickly as officers really helpful to us. 7. Episode 7 - Beacon Red: This is Beacon read down photographing at the moment, have been for the last three months. I've probably been up 70 nights. Probably missed about five days in that time. That's mainly because the creature is there at the moment of squirrels there. I'm really enjoying the moment. It's in 2020 in the UK. So COVID virus has been around in lockdown, has done. So that got me into almost I'm locked at home. I'm just having my one hour of work that we can have. I'm going to use that time well, and they got me into a regular pattern of starting here. That did so spar me a little bit on this quest. But I've been walking the beacon regularly from home. And I've seen red squirrels in the tree tops. And I've thought about getting some good images of red squirrels for quite a long time. With the red squirrel images regard on my regular walks, I noticed there was a fetal weight were a bit of a haven for red squirrels in the North, north of the UK and up into Scotland. They are here. There's lots of people who were doing lots of great work to help them survive. We've got red squirrel range is locally. There was a squirrel feed or on a tree. So that's a hobbyist giveaway that at some point in time, people have tried to feed spirals here and then maybe coming to this area. The time that I was out in my walks, squirrel theatre was empty, nobody was around, nobody was going nearby. Had never seen a squirrel there. But I guess in one sense it made me think, well, maybe this is a place to start feeding. So this is an example where I have put food out for awhile creature. I think if we are going to feed animals and creatures and hopefully that may potentially get us more opportunities to get close to them and get some great images. And we just want to think a little bit about that dire and that we're not making them dependent on us. We're possibly putting out a little bit of food on a regular basis, but it's not and making them dependent on us. So we just have some foods as almost like a nice treat, a nice snack, something that they like. But if it wasn't there, they can still survive. You're not trying to make them dependent on you. And let's face it. Creatures, human beings as well. We like our food. If somebody's gonna regularly puts nice food somewhere, it's quite possible little creature is gonna come. Squirrels like hazelnuts have been buying. Hazelnuts, have been taken them up and put a few in the fader to start with. Just on a regular basis every day I go back and check. I wouldn't put Manny. I just go back and check. Are they still there? After possibly a couple of weeks. They weren't there. Something's taken them probably the squirrel start growing on a regular basis, start feeling irregular time and just start possibly sitting and observing and seeing if the squirrel comes to start to see a red squirrel, a bit nervous of me sitting up in the treetops, possibly coming down, had Amendment when it came down to the feeder, started taken the hazelnuts and they were hazelnuts fully in their shell. So they'll, they'll take those, they'll bury them, hide them away, install them for winter. Or when there's foods less there's less food around. That was this is kind of moment when you start to think are great. I might be able to get some good images of a screw and then I might be able to start and build a body of work. Or some images that could sail or might be just some cards, or might just be a nice body of work. I've got a few nice pictures of red squirrels. So they might well have been say, eight or ten hazelnuts each day. Smashed, gotten knocked out and wedged it somewhere. And then maybe six or 78 hazelnuts that they're in the shallow and the squirrel can come collect them and take them away. Wherever these 70 days or so. I've just watched the squirrel come. It's still had my camera ready and I've started to build and get some nice images in it. It's been intriguing to me actually, how quickly the squirrel came to accept me, came to accept. They knew that really was unlikely to be doing any harm. And actually, potentially, I was the person bringing the hazelnuts food alone. It would come on a regular basis. When I say regular, probably between 57 at night. So on times I have sat for two hours and not seen a squirrel. But often I've gone and within ten minutes, the squirrel has been there or 20 minutes. And that's not a long time for a wildlife photographer to wait for a wild creature to pop alarm and give you a chance to get some images. And over a period of time that scrolls come closer and closer. I just basically used hazelnuts as a beige or as a treat for it to bring it to certain places. After about where their sons at. Some beautiful sunlight comes through the trees, potentially behind me or you, but you can move around. You can think about where you'd like to get some images of the squirrel is I see above as a stage, is the squirrel stage and I'm a potential or even directing it, but I'm kind of taking it hopefully in it to go to certain places, which is a wild creature still it can come and gave, it comes engaged and you're waiting for it and then getting your photographs. 8. Episode 8 - Camera Basics: Crunch. So just a little bit about the camera. This isn't a technical video. I'm just going to give you a few ideas and notions around the camera that I'm using, which is the Canon 5D Mark four. I've got the L series 100 to 400 lens on here. What I'm trying to get across really about the camera's not to give you too many technical tips about this, but the kids, because essentially they're all online. You can read them in books so you can have a chat about them and you can experiment the camera, whichever camera you're choosing to use. So once you've decided and you've got a camera and it's a question of getting out and experimenting. There's a few points, I think which we may have touched upon before. You're going to need a certain length of Zoom, three to 400. If you can afford it five to 600. Brilliant, you can get a extender which just fits in here, extends the range of your lens. So that's a good thing to have potentially. But I've never used, I just used a one to 400 for all of my work. So for all the images you've seen in this workshop, It's a one to 400. It's this camera rarely. Or an earlier version of this camera. Say, there's lots of technical help, either by the manufacturer of the camera or by experts we're trying to sell you these cameras. They will have to him lots of online things, 57 minute videos for, for pretty much all for free. But you need to get to know your camera and to be comfortable with your camera. Wherever it is in a wildlife photography, the one thing you don't want to do is run out at the battery, runs out. Your memory cards for an yam got more. Make sure you got a few cards, make sure you got a few batteries, the charged up and they're in your camera? I've occasionally gone like that. And there's no card in. And you saw already a fantastic sharp but there was no card and I do all my work pretty much handheld. Sometimes people think you do offer try for a handheld. I'm not sad all the time. Cannot tense. I think. One of the things with a piece of equipment or a camera is that you are ready, you almost relaxed. And then once you see the creek Junior into, here's a way for me to take my photographs. This has got a really nice grip there. One of the things I learned fairly early on was that we need to have to focus here on the back button. So I'm focusing using my thumb on the back button there. Then I'm pressing that button now the front, take the picture, so focus and take your image. I'm holding that down possibly to track the creature. Now that's a setting in which you have to, potentially, for most cameras, when you get the camera, you've got to work that out and just set it like that. Because otherwise everything's on the front here. Focus halfway down, and then take the shot, close the shutter. That's not gonna work for wildlife photography. Three things to think about is our ISO, our f-number, and our shutter speed. Let's say this isn't a technical video. So you really will need to know about those things and experiment with them. For motion photography, it's about getting the right amount of light into the camera. I'm playing around with that rarely. But when I picked up this camera, I didn't even get the guide out. And just quickly a Google search. And there's a guy that really nice four-minute video as to how to put it onto the bat. Focus. Sorted four minutes, right? I forgot. I craft now just a little rain cover on this. I'm going on at the moment, but just a little rank of a protected equivalents a bit occasion I've had condensation in the air, but It's possible to dry these cameras out. So on the whole, we're looking after our equipment, we're keeping it dry. I have a waterproof canoe back, just a bag. You can just quickly took this in. Paul Irish. Three minutes radian. I might have a broadly but I think ten TO body position, a little black bag or pull it out, take a couple of pictures, put it back in. That time we're not going to get much rain onto the camera. And if you spend a lot of money on a camera, take your time before you buy it. You can't hire them, you can hire lenses. Why not hide it for a couple of days. Experiment with it. Bites, do that for 5060 quid and spend a lot of money and think it's not quite doing what I wanted it to do. Take a bit of time and research. And again, this is actually secondhand, both the body and the lens, but of a high-quality. In our modern society, lots of people buy equipment and then don't use it very much. You will be able to get quite a few. I won't say bargains booked solid, good equipment. This, you know, having to pay full price. If we're thinking environmentally as well, we don't want to necessarily, we don't need a new camera. We need a good camera in this one doesn't say second-hand book. Pretty good. Yeah. And then just get out and enjoy using it. 9. Episode 9 - Wrap Up: Okay, So I hope that's been useful to you. Tried to just share a bit of my experience over the last ten years of being a wildlife photographer would encourage you to do is get out there. It's beautiful, isn't it? It's a great thing that we have for our grasps, go for a walk, take our camera, it takes some binoculars, subsystem grid equipment with us. And really enjoy spending some time in nature and working on just trying to get some nice photograph, some nice images for our own pleasure and potential then if you want to sell them. So thanks for watching the video. I hope you've learned a few things that you can put into practice. That's the, the intention really. If you ever in Paris in the UK and North of England, come and see me and my gallery here, or drop me a note. And if you wanted to have a conversation about any information that's in the video. Thanks for watching.