Photographing Budgerigars

Photographing Budgerigars

UPLOADED  BY MASTER LOFT

 

I have been asked on a number of occasions over the years to write an article on photographing cage birds, and in particular budgerigars. I have always declined, as I was unsure if I could put into words anything that was interesting. So when George Booth asked me to write one for the Budgerigar, it was with some trepidation I agreed. If you feel having read the article. I have failed to make it readable I apologise now, only I find it difficult to say no to George, maybe it's because he is a J.P.? Whatever it was I agreed so here goes.

The Beginning

Around 1988/89 I started to breed a few reasonable budgerigars, for a beginner that is, and as beginners do, I wanted to record my efforts, not only in my breeding record books but as pictures also. The idea was for me and me only to be able to compare my progress within the hobby, by picture form.

Bearing in mind at that time there were no digital camera's to speak of, no mobile phones, which all have digital cameras now, just film. So armed with my very cheap film camera I began to take some photo's, initially only of birds in the flights, with the on camera flash. I completed the roll of 24, waited for them to be developed, and it was with great expectation I opened the print envelope on return to see what I had captured.

To say I was disappointed would be an understatement; the birds were that far away, they looked like a spot on an elephant's bum. So there was my first fiver down the drain, that was the cost of film and developing. I have to say it didn't get much better over the next few months, but by now I had a determination to achieve something better.

I visited all the camera outlets locally, and tried to explain to the staff what I was trying to achieve. I made the mistake of mentioning budgies, laughs all round, you know how it goes, any going cheep etc. I knew it was possible to achieve front cover quality because Les Lockey was doing it, but I never had the nerve or the cheek to contact him. Yes I know that seems hard to believe for those of you who know me, but as a beginner I was very shy.

The guys in the camera shops were trying to be helpful, but it was quite daunting, knowing nothing about camera's or lens for that matter. Try this try that, you need a ring flash, you need a new camera, a new lens, the list went on. I did purchase quite a few pieces of equipment, at some cost, but to no avail. I was getting through film at an alarming rate. Rolls of 36 were sent for development, I had note pads full of flash setting, distances, etc in an effort to find the correct settings to give me some results. I was very close to packing it all in, but I have always had a desire to succeed at things I am interested in, so my efforts continued.

The results were improving, and I was getting reasonable pictures, but nothing like I wanted. Eventually the lads in the shop would lend me equipment to try and return, at least I was now not paying for gear that didn't do the job. In the end the Manager offered his services to me, by suggesting he visit my house and see what could be done. A fantastic gesture I think you would agree. We have become very good friends over the years.

Once we had messed around for a few hours we got some decent images. I sent some of these photo's to Cage & Aviary birds, and received a very encouraging letter from the then Editor Brian Byles, who invited me to send in some more, he also said he would try and use some of my images in the magazine. Boy was I chuffed.

Roy Stringer also of Cage & Aviary birds fame was very encouraging and still is to this day. Pity he is a Villa fan. Cheers Royal.

I think the break through though for me came when Les Lockey wrote an article for the Budgerigar in 1991, and actually printed a picture of his set-up. It was also in this year that I approached Les at the BS club show, and asked his advice, he invited me to watch him take pictures of the winning birds, and it was a great help to me. Thanks Les.

Bigger Investment required

I had decided I needed to make a bigger investment if I wanted to reach his quality, and I was now earning a few bob from Cage & Aviary birds so I used this return to get the set-up I had been chasing for so long. Two studio flash, an all wire cage, Minolta camera and 70-200mm Lens. I started to produce images that the Budgerigar Magazine would use on the front of their magazine, a real kick for me.

People appeared to take interest in my photos, and started to ask me about them. I think out of all the questions I have been asked about photographing birds. The one most asked is how do you take the picture without the bars? My standard answer is open the door and hope it doesn't fly out, the reaction to my answer is as though no one believes me, but that is how it's done.

I have to say it is not as easy as some might think photographing a living thing, some are natural showman and are a delight to work with, B & C Heales club show winning grey green cock was a good example, it just never moved, and showed himself to perfection. Others just don't settle, and I made the decision very early that I would not continue to photograph a stressed bird, it is not fair to the bird, and certainly not to the owner.

I have been taking the pictures of the Budgerigars at the B.S. Club show since 1994, and always consider it to be an honour to do so. And I feel so privileged to have seen the Countries best exhibits at close hand. Although it has not been quite as enjoyable since the BS made the decision to photograph only through the bars of the exhibitors show cage. I hope they revert back soon to the old way. I feel it a backward step at present.

Impact

To add impact with the image it is desirable to fill the frame with the bird, this is why you usually only see the birds from the perch up. I know this upsets some, and the BS had a few written complaints some year back. They asked me to do a series of the varieties in full length. I don't think any were published, certainly not on the front cover. Yes it's nice to see the full bird at times, but below the perch we have two tails, not a lot more to see. Oops what have I said!

I like a bird with a wide face and would prefer to show this through the lens, so a full on image is required, easy aye. Not so. Due to the breeder's quest for directional feather, the birds don't see so well looking forward, and always turn their head to look at me with one eye. So now we have the problem of enticing and waiting for the bird to face the camera, waiting is the worst as you need to be concentrating, and consistently re-focusing as the bird moves along the perch, ready to press the shutter when you see the required pose.

Back to Camera

Some say the camera never lies, but it is possible to make a bird look better than it actually is. It is also possible to make a good bird look not so good. This is where the skill of the photographer comes in. I sometime like the pose where the bird has it's back to the camera, and then looks over it's shoulder (See our club show winning cock) Also a profile shot with the bird looking at the camera is very effective. I tend most of the time though to take the images the fancy and magazine etc requires, i.e. face on.

The actual taking of the photos is the pleasurable bit, and to achieve the results required for the front cover. I believe to effect these results a SLR (single lens reflex) camera is required, along with a zoom lens. I used a very cheap Minolta body for over ten years costing only a £130.00 new, with a Vivitar zoom lens costing about £70.00. I recently picked up a 35mm Canon EOS 50 E from Ebay for £62.00, brand new, a few years back this would have cost £400.00 plus. What a bargain! . A zoom lens to suit with a range of around 200mm is required.

It is important to use as small an aperture as possible F22 and F32, this will help to maximise depth of field and allow a greater working distance between the subject and the camera. I tend to be positioned three to six feet away, depending on the image required, full bird or a head shot only. This type of working distance will allow the bird to relax more, helping you to get that desired shot. Focusing is concentrated on the cere of the bird, as this will make your image look in focus, even if the ideal depth of field is not reached.

Bounced flash or diffused flash is better that direct flash as this will help to avoid the harsh shadow from an on camera flash, just a piece of tissue over the flash it's self can make all the difference.

Studio set-up

If the photographer wants complete control and consistency, a studio type set-up is required; I use this for all my cage bird images now. It consists of the same camera and lens, but incorporates two studio flash heads, two stands, two brolly reflectors and an all wire cage. This will give the perfect "Budgie"portraits.

My cages, and I have several of them, in differing sizes, are made from Twilweld mesh, held together by cable ties. The door needs to be large enough to frame the subject effectively and allow for movement of the subject along the perch. The perch is best placed diagonally in the cage from left front to right back, or have a revolving perch set-up to give more flexibility.

I find the birds seem to relax more in the all wire cage, more so than if a show cage was used, maybe it is because the are used to this cage type set-up back home in the bird room. Different colour mounting board backgrounds can be experimented with, black is an old favourite, which will hide any shadows, but I have decided on a dark blue, it seems to suit most colours, including blue birds, believe it or not.

I have to say with the onset of digital camera technology, everybody now seems to be a photographer, everyone has a camera of some sort, and how easy it is for any serious budding bird photographer to see his or her results instantly. No more sending away for developing, no need to make notes of settings etc, and all for free, once the initial purchase has been made.

I have to admit to having no experience of the pocket type cameras so I am unable to comment, but I have gone digital. Around five years ago I purchased a Canon 20d, and I am so glad I did a very versatile camera and a joy to use. The cost at that time was around £850.00, the same camera second had on Ebay are fetching around £350.00 today, a bargain in my opinion.

My lens is a Canon 70-300mm usm zoom image stabilising lens, costing £999.00 a real beast of a lens, but I have to say it was purchased with other work in mind, not just the budgies.

There are much cheaper options in both camera and lens; it will be down to the individual on how much the budget will be. I would say at this point I still prefer to take pictures with film, transparencies in particular seem to produce a better end product. The choice is yours.

I hope this article has in some way helped any budding budgie photographer out there, and has not been too boring to those of you who are not so interested in how your magazine front covers are achieved. I would just like to say to those who criticise the bird pictures in the various magazines, that it requires a lot of hard work by the various photographers to capture these images on your behalf. And on a personal note, if it were not for my Budgie partner and very good Mate Ian Ainley, particularly during the BS club shows weekend, I would not be able to achieve what I do. Ian walks miles fetching and returning the exhibits with very little praise. I thank you now mate

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