Wildlife photographer and ornithologist Kiko Arcas reveals some of the tricks of the trade for creating great bird photography
There’s so much more to wildlife photography than just the photography. Before you get the opportunity to frame up your subject and release the shutter come days of planning, tracking and observing; hours of identifying and setting up the perfect observation post; and – unavoidably – an unspecified amount of time spent lying in wait for everything to come together.
As such, preparing for success goes beyond picking the right camera and lens for the job. In this article, Kiko Arcas describes his approach to the fieldcraft of wildlife photography.
Vital equipment
“The equipment I take on any given day in the field consists firstly – and very importantly – of a good backpack that’s as comfortable as possible, supports the weight of all my kit and, above all, is waterproof,” begins Kiko.
“Pockets for storing different tools are essential. These could be a penknife, small secateurs, tape – things like that.
“For photographic equipment, in the backpack I normally carry two camera bodies. I like to put the FUJIFILM X-H2S with the FUJINON XF200mmF2 R LM OIS WR in the middle compartment. In the left I carry the FUJIFILM X100VI and in the right I carry the FUJINON XF150-600mmF5.6-8 R LM OIS WR.
“The rest of the compartments are occupied by a FUJINON XF18-55mmF2.8-4 R LM OIS, my binoculars and other kit such as card cases, batteries and so on,” adds Kiko. “Another indispensable element is a tripod that’s sturdy yet light – carbon fibre is always great – accompanied by a good tripod head.”
Critical to Kiko’s work is the ability to blend into his surroundings. “The next item on my list is a folding hide,” he explains. “Mine is easy to carry, lightweight and, crucially, can be set up in just a few seconds.”
He also underlines the importance of keeping the basics of working outdoors front of mind. “One of the most important things – which many photographers forget – is to take good, warm, waterproof clothes and good shoes.
“There is nothing worse than waiting for a long time in the cold and wet and not having the right clothes; you’ll have a very bad time. So, gloves, a hat and waterproof trousers are a must in my backpack during winter.”
There’s one last piece of specialist equipment Kiko relies on for most jobs. “The must-have tool in a wildlife photographer’s backpack is a good pair of binoculars,” he asserts.
“These will help locate the species we want to photograph – or simply find from a distance where we can put our hiding place. I use FUJINON Hyper-Clarity 8×42 binoculars for two essential reasons – they have excellent sharpness and a good, lightweight build.”
The right tools for the job
The gruelling conditions Kiko regularly faces serve as an explanation for his choice of camera and lenses. “Nature photography is a tough discipline, both for the equipment and the photographers themselves,” he points out.
“Rain, snow, heat and dust will put us to the test on numerous occasions. And what we suffer, our equipment will also suffer, so it’s important that both the camera and lens are sealed against these phenomena.
“No less important is the weight. I often work from a vehicle, or my hide will be close by, so carrying heavy equipment will not be a big problem. But things change when I take long walks, work handheld for a long time or, in addition to the equipment, have to carry a tripod, chair, portable hide, food and drink. With so much weight, your back and shoulders are going to suffer.
“That’s why the proportionality that exists between camera body and telephoto lens with Fujifilm is the most important thing. Having powerful equipment at such low weights makes wildlife photography much more bearable.
“If I combine an X-H2S body with the XF150-600mmF5.6-8,” points out Kiko, “the total weight with grip and batteries included is barely 3kg. Almost a 920mm 35mm-equivalent focal length at that weight is a marvel.
“Just because it’s light doesn’t mean it’s fragile; this equipment is robust and ready to work under any condition,” Kiko says of Fujifilm’s weather-resistant imaging equipment. “When I’m in adverse weather, I don’t worry at all.”
Planning for success
“In wildlife photography, you need to know what you want to photograph, as well as how and where,” advises Kiko. “Plan each job before starting it. If you don’t, the failure rate is high, and most likely you will go home with an empty memory card.
“Even if you do plan, you may fail,” he adds. “We must not forget we are dealing with completely wild animals and things do not always turn out the way you want them to.
“This is where good binoculars are vital – and putting into practice the knowledge you have about the species you want to photograph. In my case, the experience gained over many years is fundamental. I started going out in the field when I was only ten years old and now, at almost 50, all that experience is a huge plus and makes my task much easier.
“It’s necessary to know a little about the biology and ethology (behaviour) of the species. I would even say I need some knowledge of meteorology. All this helps me know how to deal with the different situations I find myself in.”
“Knowing the species helps me determine the distance at which I will work. Photographing a robin is not the same as working with an eagle – the degree of acceptance of the hide won’t be the same.
“While with a robin I can work from a couple of metres away; with an eagle it has to be at least ten or 15 metres, and my behaviour in the hide has to be much more careful and cautious. A robin, if startled, is likely to return within a few minutes, whereas an eagle is not likely to return for days or even weeks.
At the intersection of ornithology and photography, Kiko’s finest work comes when he has ensured the appearance of his target subject coincides with favourable lighting conditions.
“Once I know which species I want to photograph and where it’s located, I follow its movements and habits, especially at the times I’m interested in photographing it – usually early morning or late afternoon. I always look for soft light – above all, I like the light on cloudy days. If the occasion arises, snow is undoubtedly the most photogenic element as it offers incredible light.
“I don’t like to photograph in sunny weather. On days when the sun is shining at its brightest, I either stop making pictures or limit my activity to the first and last hours of the day.”
Setting up the hide
Once a location and day have been picked with favourable conditions, the next step is setting up the hide. “The installation of these hiding places must always be done in a discreet way that interferes as little as possible with the behaviour of the species, in a way that attracts minimal attention,” explains Kiko.
“I normally use camouflage netting to disguise the shape of the hide. Sometimes, I’ll just wear a camouflage suit and use netting to disguise the shape of the tripod or cover the shiny metal parts, as these can act as a real alarm signal, especially for mammals.
“Before placing the hide, I always look for a location with the best background, composition and light. Once I have it in place and facing where I want it, all I have to do is set up the equipment and go inside to wait.
Although hidden, Kiko still has to be careful about scaring off the subject. “I can only wait for the bird to perch in the place I have been studying. If it lands, my movements are always as smooth as possible. Any unnecessary noise can ruin all the work in a matter of seconds.
“If I want a high success rate, I have to be as stealthy as possible,” he remarks. “I don’t make any noises or sudden movements with the lens or tripod, I always put my mobile phone on silent. These details, though they may seem trivial, can make the difference between success and failure.
When the plan finally comes together, Kiko makes sure to relish the moment. “When the subject lines up, I just have to enjoy all the work that’s come before and fill my memory card with photos and videos.”
If it sounds like a lot of legwork to set up the perfect photo, that’s because it is. But Kiko has an attainable tip for those at the beginning of their wildlife photography journey.
“The main advice for someone starting out is simply to enjoy every minute spent in the countryside, whether photographing or just taking a walk,” he insists. “If you put passion and love into every job, nature will pay you back sooner or later in the best way. So, enjoy and persevere – the dream photo will come.”
