There’s the easy way and there’s the hard way to do this. And since I love taking images at zoos, I usually fall somewhere in between when post-processing those images with the ugly fence patterns in the foreground. So this blog hopefully will help with some of these issues.
I was so excited to get this beautiful Verreaux’s Eagle Owl image while at the Jacksonville Zoo with my Photo Club – BTW the Zoo is in the process of updating and it is looking fabulous! This guy was located in a very shady area hidden behind heavy black fencing (see images below) and definitely was very hard to see. This guy was so close, like 3 feet and he looked to be at least 2 1/2 feet tall, and yet I could not see his beautiful eyes or beak. It was a major surprise to see he had such colorful eyes and beak once downloaded on my computer! I love birds but the fencing here was so frustrating! (For more on the post-processing, see Image 1 at end of blog – check out how the Charcoal Filter was used for the background of this image.) The closer you can get to the fencing, the easier it was to remove the lines.
Tip 1: Use that Wide Aperture Setting to Remove the Foreground and Background Distractions
But I had done my homework this time and set up my camera to try and eliminate the fence lines. This short 2 minute video called Zoo Tip: Make the Cage Disappear by Tim Migot totally made the difference. The con to this technique is that you have to do this while at the Zoo.
For the above image, the camera was set to its widest aperture with auto focus on and zoomed in. By burst shooting, several shots were obtained that were pretty nice. The above was shot using a 18 to 200 mm zoom lens at 170mm, f/5.6, ISO 200, and -1 1/2 EV. Below is an example of how it looked when it did not work. The image on left does not really show the fencing but it is not sharp at all and one on the right is what the fencing looked like. The image used was in a second set of burst shots that gave much better results. It seems you just have to keep trying until the fence disappears.
Tip 2: To Fix Faint Fence Lines That May Show Up – Use a Darken Curves Adjustment Layer
This very striking Bonobo Monkey was sitting in a fairly high up crevice in the Kapok Tree, a new feature at the Jacksonville Zoo. This is a wonderful way for the whole family to view these fun-to-watch monkeys up close. The camera was set up with a telephoto 70-300 mm zoom lens and 300 mm was used to get the close up image. The aperture was set to F/8.0, I could have gone a little wider but this setting seemed to be working. The ISO was set to 400, which allows the shutter speed to increase for this difficult image. In this case the fence was fairly close to me, but the monkey was not. Unfortunately my Exposure Compensation was off a bit at -2 1/2 but it worked out fine – it just made the shot a little darker. In the screen capture below a fence shot is shown and then the used RAW file that did require some light clean up. (Click on images to see larger in Flickr.) See my Image 2 Post Processing Info on the other steps used and how the lighting effect was created.
If you look closely at the RAW file above (especially through the forehead and ear area), there are definite faint white lines still in the image. The fix? A Darken Curves Adjustment Layer set up so that the curve will overall darken down the image – mine is set up as an action with just one point set to Input 164 and Output 102. Then the layer mask was inverted to black by CTRL+I on the mask. Now with a soft 20-30% opacity round brush, painted over those light lines – set the size to roughly match the width of the lines. If it is too dark, go back into the Curves Adjustment itself and move the point up or down to match. I have used this trick over and over when light is not quite even on an image. And running the image through a sharpener like Topaz (see my Tidbits Blog sidebar for website link) Studio’s AI Clear and for that matter Precision Detail which can help remove an overall soft effect that can result with the fence interference. In the Monkey image the light fence effect was left on the right background as I felt it added a nice soft texture effect to the image. This could have been removed using a Lighten Curves Adjustment Layer. To create a Lighten Curves Adjustment Layer, just set the point to Input 98 and Output 170 and fill the mask with black – paint back area to lighten – then adjust the point to match the surroundings.
Tip 3: Spot Healing/Patch Tools or Paint Out the Fence by Hand
The shooting technique does not work all the time. With the two images above the animal was pretty stationery and the fence fairly close, but when an animal is moving, it is hard to get a good focus on the subject. Doing everything that can be done to speed up the shutter speed, like setting the ISO higher, or turning off the Auto focus setting can help, but sometimes nothing works. If you really want the image, you need to take several shots of the moving animal so pieces can be patched into one if needed. Now you have to resort to removing the fence by hand and hoping you can clone over parts in different images you may have taken. This was done on the Amur Leopard image below. My main tools to start the process are using the Spot Healing Tool set to Content Aware and Sample All Layers, and the Patch Tool – mine is usually set to Patch Content-Aware, Structure 7, Color 5 and Sample All Layers checked. Adjust the Patch Tool settings if those do not work with your picture. After doing this, most of my time is spent using a small brush to sample and dab paint over areas that look rough – this is quite tedious and several different brushes is sometimes necessary. I do most of my spot removing, cloning and painting on individual layers and create a stamped layer (CTRL+SHIFT+ALT+E) on top to finish up.
This may be obvious, but a major key point here is that, if you decided to use a texture to remove a very cluttered background especially, just remove the fence on the subject only. Then create a selection of your subject and place him on top of a different texture. Usually I place a white layer under the subject, then a texture and finally the subject so that blend modes and layer opacity changes can be used. That is what was done on this image.
A lot of spot removing and painting to get rid of the fence and a separate image was flipped and copied over to get the jaw area to look correct. (In screen capture below the original RAW files with the main one used on the left and the copied jaw on the right.) It took several hours to get the image to this point, and I am not sure it is done. He was very agitated in his pen and was pacing and roaring all over the place – very hard to get a sharp image and his mouth really was open and big. Probably 20 pictures were taken (18-200 mm lens at 200 mm, F/5.6, ISO 640, and EV -1 1/2). This was really a difficult shot to get to look realistic while capturing the mood of the big cat. The background texture is one I painted in Corel Painter that had some complementary colors to the leopard. Just about everything was used on this image – Topaz Studio’s Precision Detail and Dehaze, Nik Viveza 2 to bring out the eyes, a Black and White Adjustment Layer set to Luminosity blend mode, Lighten and Darken Curves Adjustment Layers, spotlight effect layers, Color Lookup Adjustment Layer, the Sharpen Tool and Selective Color Adjustment Layer, just to name some of them. His eyes were amazing in several of the images.
Another way to handle the fencing is to remove or paint over the subject and leave the fencing in place – it can possibly look like a fence behind the subject. The image below used this technique. The Monkey image has a similar but less obvious effect on the right side of the image.
For more info on how the Tiger image was post-processed, check out a short Tidbits Blog I did a while back called The Break Out. It took a lot of time and effort to get this image – to paint out the fencing, one of my a painting brushes, which is based upon a hair brush and set to 35% brush opacity and 65% Flow, was used to sample and paint over the black lines – but it can be done. Topaz Impression was used to gave the Tiger a painterly look instead of hand-painting the whole image back in.
If you like to take images at the Zoo, I hope this blog gave you a couple tricks to try. These same tricks will work if shooting one of your kids baseball games through fencing. I had a great time exploring the Jacksonville Zoo again – the animals seemed ready for our Photo Club – and you will be seeing more of my images in the next few months. Have a great week!…..Digital Lady Syd
Post Processing Info
Image 1: In Lightroom Serge Ramelli’s Safari Animal Vignette Cold Strong preset was used as starter (see my Showing Some of Serge Ramelli’s Effects blog to download them) and then tweaked the Basic, Detail, and HSL panels. In PS Topaz Studio’s AI Clear came to the rescue – used Remove Noise Auto and Sharpen High, Recover Details 0.10, and Exposure 0.21 – then set it to an opacity of 0.71 before applying. Next the Precision Detail Adjustment was added to just the Shadow areas. Last step used the HSL Adjustment to firm up the color in the eyebrows and beak – used a black mask and painted back those areas. I could not believe how good his eyes looked, just needed a little sharpening to pop them with an Exposure Adjustment Layer (see my The Eyes Have – How to Make Them Pop in an Image blog). This is pretty much my standard Topaz workflow for animals. In Photoshop Dodging and Burning was achieved with Lighten and Darken Curves Adjustment Layers. A little white spotlight effect on just his face using a layer set to Soft Light and white brush with low opacity, and that was it. To get that pretty background color, the Charcoal Filter was used on a stamped layer in Photoshop (had to convert the image to 8 bit before using) and set the Thickness to 4, Detail to 5, and Light/Dark Balance to 47 with foreground color a brownish color (2a2319) and background color greenish (1c2715) – this filter uses the Foreground and Background colors in the swatch. The layer was set to Exclusion blend mode at 78% opacity. Used regular soft round brush in mask painting over the Owl head and used the Sharpen Tool on eyes in mask.
Image 2: In Lightroom no preset was used – just adjusted the Basic Panel and the HSL Panel. This time the image was brought into PS as a Smart Object so the LR settings could be tweaked easily if needed in Adobe Camera Raw. Since this image had more problems than the owl above, I felt this might be needed. In PS The first thing done was to add a Darken Curves Adjustment Layer to paint out the light white fence lines where the fencing was not completely removed. A little clean up was done before a stamped layer was created for Topaz Studio. In Studio the AI Clear Adjustment set to its default settings and then Precision Detail Adjustment was used with Shadow Small Detail 0.22, Shadow Medium Detail 0.43, and Large Shadow Boost – painted in a mask of just the monkey so detail only goes on him – kept Edge Aware on and inverted the mask so the background is black and not affected by the detail. Back in Photoshop a Gradient Map was applied using a gray to brown to light blue preset from Blake Rudis (see his nice gradient presets in download from Advanced Color Toning Made Easy video – excellent video). A vignette was created. Then I decided that I needed a little more light on the image so a large Spotlight Effect was created on the Monkey – just washed it over the Monkey from the opening. A few other steps were done, but this describes the major steps.
I know I am a major Topaz groupie – been beta testing with them since almost the beginning and cannot seem to get enough of what their team does for us Photoshop users. They have created some of the most remarkable software – totally different from what I call the “big boys” in the field do and it never lets me down. Now they have come out with Topaz (see website link at my Tidbits Blog sidebar) A.I Gigapixel, a stand-alone program, and it is what I consider a major software phenomenon – a 30-day trial version can be downloaded through my link. What it mainly does is enlarge any image using “artificial intelligence” to fill areas of your image to upsize them. At first I thought, why do I need this? Well the above image is a great example. This egret has been upsized 600% in Topaz A.I Gigapixel to make the bird eye image go from a size of 777 pixels X 670 pixels (2.59 inches X 2.233 inches) at 300 ppi to 4662 pixels X 4020 pixels (15.54 inches X 13.4 inches) at 300 ppi. The eye looks sharp and you can even see the feathers on the head. Below is what the original image looked like before any editing, cropping or upsizing. The size of the image was 14.293″ X 9.493″ at 300 ppi – almost the same size as the new image above.
Make Small Details in Image Main Focal Point in Cropped Version
It has been suggested that this can be done with a panorama that has some details that would look nice printed out as individual images. Once the image was upsized, it was post-processed like normal in Photoshop. In this case a Curves Adjustment Layer for contrast was added along with a Color Balance Adjustment Layer and an Exposure Adjustment Layer for the eye color. That was it – not much to it.
Copy Out a Frame in a Video to Make a Sharp Image for Printing
Above is the final image from Oahu, Hawaii, after doing edits in PS (added Camera Raw Filter, and a Curves Adjustment Layer) to the upsized image – definitely something that would look great printed out. Image size is now 20 X 11 inches at 300 ppi or 59.5 megabytes. Below top image was taken from a rather low res video – I ran it through my video player (I like the free VLC media player – it lets me play my videos without converting the file type) and stopped at this frame. Used the Windows Snipping Tool to save it down as a jpg. When opened in PS, the original image size was 17 X 10 inches @ 96 ppi or 4.5 megabytes. Below are close ups of the kids showing the original and underneath, the image upsized 400% with A.I. Gagapixel for detail comparison.
If you look closely, the faces are a little bit clearer, the palm tree in the background is a lot sharper, and the fronds at the top of the image are a lot clearer. If you look at the finished image, the fronds look really incredible. A.I. Gigapixel fills in areas with pixels it thinks need to be added – Topaz says the program does 1 -2 million operations per pixel when it is analyzing the image.
To Increase Size of a Favorite Image from Internet or from Your Social Media
I love to find images from old famous painters or photographers for slideshows on my computer (Windows 10 capability). So many web images have very poor quality so running it through A.I. Gigapixel creates some really nice results. Here is an example of how this can work. The original image of the Waterloo Place image from London, 1899 has a size of 89 KB (600 X 438 pixels) and 72 resolution. (See image below.)
After running the image through A.I Gigapixel (see below) and increasing it by 600% to 1919 KB, it is so much smoother and much less grainy. It was enlarged by 600% for a size of 12 X 8.76 inches (3600 X 2628 pixels), which is large enough to get a nice print. No changes were done to this image but the Reduce Noise and Blur was set to Moderate in A.I. Gigapixel – it really improved the atmospherics of the image. If you have a relatively clean image, this is not needed.
I am sure this program will continue to grow and get better, and they promise that if you buy it, all the upgrades will be free. This same process can also be used if you have textures you created or bought that are older or just not that large, this program can be used to bring them up to the new large size photo standards. Also, downloading a thumbnail from your social media can be run through A.I. Gigapixel to get a good result, even if the image is only a few kilobytes large. I have not tried it on my phone images, but I am sure it will really help. Topaz has a really nice video called Topaz Live Training: Introducing A.I. Gigapixel that takes you through several images. They also show how to use this A.I. Gigapixel with 3D so it definitely has some cutting-edge uses.
I will try and do a video once I have learned all the tricks. I only downloaded the image a couple days ago and I can already see lots of possibilities. Give it a try if you are like me and have lots of old photos on your computer that could use a little help or would like to really zoom in and get a nice high resolution image of a part of a favorite shot. Have a good weekend!…..Digital Lady Syd
Just popping in with a couple images of one of my favorite subjects, birds! Been busy taking a few on-line painting and photography classes and trying to get a little time to try out some new things. Both these images (which are not painted) were improved by following some of the techniques of one of the best wildlife photographers, Moose Peterson. He is just one of the many people who have created some really great classes on KelbyOne. Moose also has a great blog (if you check out his latest blog, he is talking about something I am super-excited about – an update to the Nik plug-ins! – Yeah!!!) and website with lots of good information to improve your photography. Anyway, his classes are just really good and easy to follow and not all that complicated.
Lightroom and ACR Sharpening’s Masking Slider Tip
The snowy egret above was taken at the St. Augustine Alligator Farm rookery. They are one of my very favorite birds to photograph because of their beautiful feathers they spread during the mating season. One thing I did learn from Moose (in The Secrets to Creating Super Sharp Images class) is how to properly use the Masking slider in the Detail Sharpening section in Lightroom (and ACR). Look at your subject and only sharpen for your subject, and as little of everything else. By holding down the ALT key and moving the Masking slider, many different thicknesses of white lines will appear in the black mask. The white thick lines will indicate the “plane of focus” and should be around the subject and any other areas in the same plane. (This is also a great way to find out if you actually did get what you wanted as the main focus of your image.) The smaller lines are not as important. Now the Amount can be increased to sharpen the image correctly.
Most of the post-processing was done in Lightroom using the Adjustment Brush and Radial Filter to sharpen the bird up and darken the background down. In Photoshop a Color Lookup Adjustment Layer was added using the Foggy Night preset (my personal favorite) set to 9% opacity. A Hue/Saturation Adjustment Layer was added next and in Master, the Saturation was increased to +38. The layer mask was filled with black and only parts of the birds body was lightly painted back. Two Curves Adjustment Layers were added and set to Luminosity blend mode for Dodging and Burning (see my How to use Curves Adjustment Layers to Dodge and Burn an Image blog). Then just a couple layers set to Overlay blend mode were added to even out a few of the lights and darks in the foreground and background areas. Ended up with just the standard frame around the image (see my How to Create a Quick Layer Style Border or Frame blog.)
For this image of baby Snowy Egrets one of the new LR (and ACR) Black and White profiles called B&W Blue Filter was applied, and 4 graduated filters set to Exposure -1.00 were placed around the birds to darken down the edges. Just a few Basic sliders were adjusted a little, mainly Highlights Shadows, Whites and Vibrance. A Dodge and Burn 50% gray layer was used to sharpen up the little guys a bit. Used a Level Adjustment Layer to bring back the background into focus just a little.
Film Grain Effect
I wanted to give the B&W image a little softer feel so a Grain Layer was added. This is a tip from an older KelbyOne class by Katrin Eismann (another brilliant Photoshop guru) called Color to Black and White Artistry but the basic concepts are still current. Using this method gives a really natural subtle result to the image and adds the effect in the areas you want it, mainly the Blue and Green channels, and leaves the Red Channel alone where usually the subject resides. The film grain is added in a very natural way so that the Blue Channel gets the greatest amount of noise, Green channel less, and Red Channel the lowest amount. The steps are as follows:
- Go to the Channel Panel. Note that all Channels have the Add Noise Filter set to Gaussian and Monochromatic.
Highlight Red Channel and go to Filter -> Noise -> Add Noise and set Amount to 4%
Highlight Green Channel and go to Filter -> Noise -> Add Noise and set Amount to 6%
Highlight Blue Channel and go to Filter -> Noise -> Add Noise and set Amount to 8%
- Next Highlight each channel and go to Filter -> Blur -> Gaussian Blur and set Radius Amount to 0.3%
- In the Layer Panel, change the blend mode to Luminosity so any color noise is reduced. Can also adjust the layer opacity if the effect is too much.
I actually put these steps into a simple action that works great. Well that’s it for this week. Be popping in again soon!…..Digital Lady Syd
Hi Everyone – just doing a quick post this week on an interesting camera trick I had never tried. I read about this in an article called 5 Awesome Benefits of Using a 50 mm Lens by Jason D. Little at Light Stalking – they have great articles on all types of Photography topics. What is done is to take the 50 mm lens off the camera and hold it up backwards so the image is shot through the front side of the lens.
This technique does not replace a good macro lens by any means, but it is kind of fun to try. And if you do not own a Macro Lens, give it a go. I did not have an adapter or reversing ring to attach the lens to the camera (these apparently are very inexpensive to buy) – and I did not use a tripod with a remote trigger. I imagine some really good results can be created by doing this. Because of this, it gave my images a very soft abstract feel – it actually reminded me of my Lens Baby effects. And for me it was a good starting point for doing some more artistic effects.
It took me a while to actually get some camera settings that worked and lots of lights were turned on in my home. An ISO setting of 800 seemed to work best for me. None of the automatic settings worked since no lens was actually attached to it. Therefore the focus had to be adjusted manually by moving in closer or further away with the camera itself. As you can see, it becomes a very close up macro effect. The post-processing took lots of time to get a good effect – started with my Another Simple Black and White Technique blog from last week and then added a couple textures along with several adjustment layers.
The next two images are both from a Blowing a Kiss Sculpture and is part of the Vitruvian Sculptor Collection based on Leonardo Da Vinci’s Vitruvian Man drawing. I enjoyed creating both of these images. The smile image, as with all three image, required a lot of Spot Healing to remove the dark dust marks from the lens. Also, they all were rather noisy so some adjustments were done in Lightroom’s Detail Noise Reduction Panel.
To get the interesting colors, the oldie-but-goodie Nik Color Efex Pro 4 with several filters (Reflector Efex, Film Efex Nostalgic, Darken/Lighten Center, Detail Extractor, Photo Stylizer, Vignette Lens, and Classical Soft Focus) was used. Then a Levels Adjustment Layer and a Color Lookup Adjustment Layer using the filmstock_50 preset at 52% layer opacity were applied. Pretty simple post-processing.
The above image took a little more effort but I really liked the way the bubbles looked in the final iteration. Two groups of bubbles with several layers each were added – smaller sized ones for the background and larger ones for the actual fingertips. All the bubbles in this image were created using a Lisa Carney Bubble brush she shows you how to create in her Filters and Smart Object class on Creative Live (all her classes are fabulous). Brush 11 in the free Photoshop Bubble Brushes would have worked just as well and was used as the foreground bubble. To create a group of bubbles, need to adjust the size, spacing and scattering in the Brush Settings Panel and just paint them in on a New Layer. A light border was added, a pink and blue texture overlay, and a Light Beam Brush by Jonas de Ro was added in the upper left. Then just my final workflow using a Black and White Adjustment Layer set to Luminosity blend mode and Nik Viveza 2 layer were added.
I am not sure I would use this technique unless I needed a macro shot and this is all I had available. It can be done but it does take a lot of experimentation. Hope you all have a great week….Digital Lady Syd
No post for a while as unfortunately I live in Florida with Hurricane Irma on the way. This bird was taken after Hurricane Matthew last October. Figure the birds will be the only ones not concerned about what is coming. Will be back as soon as possible on the other side!…..Digital Lady Syd
It has been a busy week as CreativeLive has had their 5th Photoshop Week and it was really good! There were lots of interesting classes covering all kinds of Photoshop uses. Plan on getting some new tips and tricks together to present soon on my blog. This week I am showing my pretty little Oleander flower growing in my yard. This flower was shot using with my Lensbaby Composer at F/4 using a Macro +4 Lens, which is why it was so soft and wispy looking. There is a newer version of this lens, but mine seems to still work well, especially on macro shots. I would recommend your trying one out if you get a chance.
In Lightroom just the Basic exposure and contrast sliders were adjusted. Then the image was taken into Photoshop and Topaz (for website see my Tidbits Blog‘s sidebar) Impression was opened using one of my presets (SJ Watercolor like effect on bldgs. – click link for settings at bottom of blog.) Some Mixers and Regular brushes were used to smooth out the background and paint the actual petals. Added one of my textures on top set to Soft Light blend mode at 62% layer opacity. One of Kim Klassen’s older beige textures was then added and set to Multiply blend mode. A Blue Luminosity Curve was created and an S curve was used to increase contrast.
Now to the Topaz Texture Effects 2 tip. In the above image, the plugin was used to only add two stacked light leaks. Presets are just a guidelines for effects that can be added, but this is not where the power lies in this plugin. By clicking up in the top right-hand corner in the box that says New and than Add Adjustment, all kinds of choices are opened up. To add the two Light Leaks in this image, the Light Leak section was added twice, once for each leak added. It was then saved as a preset since I liked the effect of how the two leaks blended. There are 13 different section types that can be added as often and in any order as needed. Only one light leak can be applied and that may be all that is needed in your image. Could use just a diffusion effect, or several texture sections, or only the Double Exposure section for your image. Texture Effects has so many sections with so many sliders and a great masking capability with blend modes, making it easy to tweak the individual sections once opened in the plugin. It is a bit like using Lookup Tables in Photoshop, but much more flexible.
To finish up this image, a Selective Color Adjustment Layer was used to add some blue tones to the shadows by adding blue to the Black color. The flower does really light up! I would recommend you try out Texture Effect’s different sections without using a texture to see what fabulous capability this plugin has built into it. Be back next week with some new tips!…..Digital Lady Syd
Yesterday I had an opportunity to visit one of my very favorite places to photograph our beautiful Florida birds, the St. Augustine Alligator Farm Rookery. By visiting at various times of Spring, different types of birds and behavior are present. But beware, it is a pretty busy place for not just birds – if you get there early, you are trying to negotiate lots of photographer tripods, and as the day wears on, a myriad of kids arrive. All good fun though! This week the Wood Storks, Snowy Egrets, Blue Herons and Roseate Spoonbills were all very busy making nests. Therefore I had a chance to shoot lots of flying birds with all kinds of branches and leaves hanging out of their beaks. Will be posting these on off over at my Tidbits Blog especially. Hopefully I can return in a couple of weeks when there will be a lot of baby chicks.
The Snowy Egret and Roseate Spoonbill somehow both showed up in my image. I think I was trying to shoot the spoonbill, but the egret was also flying and I did not even see him until I looked at the photos in Lightroom. There were so many birds flying around that it was sometimes hard to capture them as they flew really close over your head at times. For me I keep my camera on Aperture mode at F/8 and shoot in continuous mode to capture as many shots as I can and hope one of the images will be sharp. Learned a lot about shooting birds from an old KelbyOn (NAPP at that time) video by Moose Peterson on taking images of Florida Birds. He is one of the best bird photographers around and has a great blog with lots of tips.
All the blog images were post-processed in Photoshop just using the same basic workflow I always use: First make sure no noise is in the image and fix that with Topaz (for website link see my Tidbits Blog sidebar) DeNoise 6, then Lucis Pro 6.0.9 (no longer available at the point) or Topaz Clarity (sometimes Topaz Detail depending on the image) to slighting sharpen the whole image (use a layer mask if needed), use a Red Channel Luminance Curve Adjustment Layer, a Black & White Adjustment Layer set to Luminosity blend mode, and finally the free Google Nik Viveza 2 – this filter is a must. Viveza can really help even out the light and sharpen areas that need just a little boost. It can also add that subtle vignette needed in some images. If you have not tried it, do so – use control points to pinpoint the areas that need adjusting. Still my favorite all-time Photoshop filter! There are tutorials on all these different techniques so just search in my blog to find more info on any of them.
These little chicks were recently hatched to a Roseate Spoonbill and may be the first group to have arrived. They were so cute. At first it seemed there were only two in the nest, but the little guy on the left was in all the images. It is really easy to miss things until reviewing the shots at home. The light was a little harsh but they still looked pretty cute to me.
This Snowy Egret was trying to get away from the crowds but the light was so pretty on his plume that he was quite noticeable. The grace and poise of the Snowy Egret is quite striking, especially when compared to the beautiful, but really clumsy Roseate Spoonbill. The spoonbills all see to have a lot of personality. And Wood Storks just sort of stay up high and stare you down. If you spend a little time watching the interactions of the birds, it is really entertaining!
I frequently use images shot at the Rookery and here are some past photo links for additional Rookery views:
Birds of the Rookery
Great Egret Babies
Cattle Egret Looking for Love
Singing Spoonbill Duet Takes Rookery by Storm!
Very Busy Snowy Egrets
Coming in for a Landing!
A Happy Couple
I guess this post is a little different for one of my blogs, but it was so much fun to see these beautiful birds and wanted to share what an extraordinary place this is. If you are in Florida from April to the end of May, definitely stop by the Rookery in St. Augustine – the birds won’t mind and its always a day to remember! Oh yes, taking a week or two off blogging to finish up a couple classes I am taking. Will catch you on the other side. ….. Digital Lady Syd