Abstract
Good pictures do not just happen.
They are the culmination of years of experience and studying and hours of work.
This is an article designed to acquaint the average fancier to the possibility of photography at cage bird exhibitions. Many different techniques and equipment can be used to take accurate and artistic pictures of exhibition birds in their cages. They will be discussed in some detail. Examples of pictures taken using the various techniques described will accompany the script. These illustrations will depict good and bad results and the shortcomings of each type of technique. It is hoped that this elemental article will stimulate more fanciers to capture their own and others' exhibits for all time using the magic medium of photography.
If one assumes that exhibition budgerigars, canaries, or finches or any caged bird are works of art on display, then their correct photographic reproduction is itself art. It is the obligation of the photographer to correctly record the exhibit. The artist may, however, choose to enhance the strong points of any given bird and minimize its weaknesses. This can be done by the angle of shot, shooting slightly above or below the bird, etc. This requires an intimate knowledge of the bird as a living thing and as an art form.
When looking at photographs taken by one experienced in the field it can be seen exactly what type of bird he or she likes and in what pose. Taking pictures of these birds is a great deal like judging them - one shoots the bird he likes in the attitudes he prefers. To show a picture of a bird in less than his optimal posture or form is a real dis-service to the bird and indirectly to the owner.
When approaching the photography of an entire show it is best to allow at least 3-4 hours to see almost all the birds for yourself. This may be accomplished while the judging is in progress as one takes pictures of those birds rejected from higher awards and returned to their classes. One frequently finds birds that on other days might have won the show to be in 3rd or 4th place in their class or out of the running completely.
When the judging is over it is time to shoot the winners, hoping to capture the form that brought them to distinction.
Photographic Reproduction of Exhibition Budgerigars in
Show and Aviary
The problems encountered in photographing exhibition budgerigars are twofold, 1) technical capability of your equipment and 2) management of the bird to be photographed.
Beginning with the management of exhibit birds there are several different types of problems presented by the birds. One is a bird in constant motion. These birds may be approached in one of three ways. An assistant can be sought who might be able to steady the bird (it's owner is the most likely candidate) or the bird can be left alone for a few minutes to an hour. If a telephoto lens is pan of your equipment (200mm is often very useful) you can shoot 6-10 ft. away from the cage without sacrificing image, size, quality, etc. Even the most nervous birds usually settle down within 5-10 minutes if no one is stimulating them.
The most frequent problem bird is one which goes to the floor of his cage and refuses to perch. These birds again can be left for several minutes to an hour. If time is not available, these birds frequently perch if the cage is placed in the highest possible position, say 5 1/i -6 ft. off the floor. The bird can no longer see his domain from the floor of his cage. Being basically inquisitive they frequently perch, just to see what's happening. Birds in general feel safe at the higher elevation. They will frequently perch when all the usual prodding and coaxing fails.
A frequent problem is that of a bird which refuses to show the characteristics you know are present by either lying over the perch or dropping its tail. This problem might be solved by an assistant (again the owner frequently helps moving the bird while you take the picture). Also a noise such as something dropping will occasionaly bring these birds to attention. This is a trick frequently used by cat and dog photographers.
General Recommendations:
1.) Record keeping in photography is absolutely essential in remembering your technique and the facts concerning the bird being photographed. This is most important if you are attempting any type of experimental shooting or taking a large number of pictures of many birds at a single setting. A small note pad is fine. Note particularly the owner, film speed and type, F-stop and shutter speed and lighting condition.
2.) Prior to photographing at an exhibition it is wise to check with the show chairman and the owner of the birds particularly if a flash attachment is used.
3.) Keep both eyes open when shooting. This is most particularly helpful when a long day of shooting is contemplated and if a single bird is particularly restless.
4.) Take along twice as much film as you think you'll use in several assortments of speeds as one never knows what the lighting situation will be.
5.) Be careful to manage your camera strap so as not to let it dangle and thus frighten the bird. Once this happens you might be in for a long wait. A black strap has frequently been preferred by wildlife photographers as color and a wild pattern tend to alarm the subject being photographed.
6.) No matter how steady the bird, it is recommended that you take not less than 6 views - 1, right profile - whole body: 2, left profile - whole body: 3, a '1/3 upper body close up: 4, frontal view: 5, back view either slightly above the bird or with the bird's head turned toward and looking at you: 6, view of the head only.
This group of slides gives one an excellent idea of the true quality of the specimen. Needless to say any questionable shots should be repeated. One had best count on 8-10 shots for a complete study of any given bird and extras for his owner. It is far easier to get them now than to go through the difficulty of reproduction.
Some birds lend themselves to being photographed. These specimens, if they are of outstanding quality, should be taken advantage of. The possibility of producing truly outstanding photographs both technically and artistically is then possible.