Ornithologist and wildlife photographer Kiko Arcas explains how he freezes the moment
Wildlife photographers can spend days lying in wait for one specific moment – and once it happens, it’s gone in a flash.
How you set up to photograph that most fleeting encounter determines whether or not all your waiting was in vain. It’s your preparations that determine whether a photo is a blurry mess or a crisp, perfect memento.
Spanish ornithologist and photographer Kiko Arcas has considerable experience in creating such mementos. “When I was only ten years old, I took my first pair of binoculars out with a huge, heavy book of birds, and began my wanderings in the countryside, trying to discover everything nature had to offer,” he recalls. “Thirty-eight years later, it still gives me the same energy and enthusiasm as the first day.
“Over time, birdwatching turned into recording what I saw through my binoculars in unique and unforgettable images. Little by little, I got deeper into this exciting world, and now I have managed to unite the two things I am most passionate about – birds and photography.”
Selecting Equipment
The technical challenge presented by wildlife photography – particularly when it comes to birds – is pressing pause on a fast-moving and distant subject. To achieve the necessary shutter speeds, Kiko suggests using equipment that can collect plenty of light.
“The cameras I currently use are the FUJIFILM X-H2 and X-H2S,” Kiko describes. “I use the X-H2S most because of its fast AF and burst mode. It’s made by and for wildlife photographers, which allows me to guarantee results in terms of image quality – and use high ISOs, if necessary, without fear of noise.
“That’s important when I need to freeze the flight of a bird, for which I must use speeds of at least 1/1250 sec,” he notes.
“As for lenses, my favourite telephoto is the FUJINON XF200mmF2 R LM OIS WR. Being extremely bright, it allows me to work until late in the afternoon, or in adverse weather conditions where light is often reduced.
“Despite not having the longest focal length, I always have the option to add the FUJINON XF1.4X TC F2 WR teleconverter included with the lens. This gives me a focal length of 280mm (35mm equivalent of 420mm), which opens up a range of photographic possibilities.
“To guarantee sharp images, another indispensable tool in my backpack is a good tripod – especially when I go on long waits in fixed hides. There are many hours spent waiting, and obviously you can’t hold the camera in hand at all times – it’s not practical. But also, if you move the equipment freely, you run the risk of scaring birds away and ending your chances of success.”
Setting Up
Over the years, Kiko has formulated his own best practices for guaranteeing sharp photographs out in the field.
“I make sure I have a shutter speed high enough to freeze the moment,” he explains. “Small birds – like robins, tits and blackbirds – are nervous about any sudden movement, so I need a high speed in case they unexpectedly react.
“I’ll open the aperture as much as I can and then raise the ISO until the desired speed is achieved. I particularly like to set the ISO to a low-medium value – 640, 800, 1250 – and leave the aperture fixed, for example at F2.8. This is normally more than enough.”
Thanks to X-Processor 5, the X-H2S boasts advanced subject detection AF and an improved tracking algorithm – both major benefits for wildlife photographers. Incorporating deep-learning technology, the subject detection mode can reliably land focus right on the eye of birds and animals.
“As a general rule, I always use autofocus – but everything will depend on the species I am working with and the conditions,” notes Kiko. “Sometimes, I prefer to turn off subject detection for birds and mammals and use single-point AF – this can be more accurate depending on the position of the subject in the composition, whether there is more than one individual in the frame or if there is a confusing background.
“I normally use AF-S mode for static birds – when they’re perched on a branch or preening. But if I want to photograph birds in flight or in action, such as when they’re fighting or courting, I use AF-C to get more tracking.”
The final piece of the puzzle for ensuring sharp images is using the correct stabilisation settings. “I only use IBIS and OIS when I make handheld photos,” remarks Kiko. “In most cases, this is when I’m tracking birds in flight, or when I’m out on walks in the countryside. If I see a bird perched, or something that catches my attention, I’ll use the stabilisation of the camera and lens – at long focal lengths, I need the greatest possible stability to get sharp images.
“But if I’m using a tripod, I make sure to deactivate these options, otherwise I can get the opposite effect and ruin all the work I’ve done.”
Custom Modes for Wildlife Photography
As the tools of his trade, Kiko customises his cameras specifically for scenarios he frequently encounters. “I have one of the rear buttons on my X-H2S dedicated to activating subject detection,” he explains. “Just by pressing the button, I can switch it on and off – this is incredibly practical and facilitates my workflow.”
Out in the field, you never know exactly what’s going to happen. It pays to have all your commonly used settings at your fingertips so you never miss a rare opportunity.
“I also have a number of unique parameters set up on a custom mode, specifically for photographing birds in flight,” Kiko adds. “These are: a minimum ISO of 1250, electronic shutter at between 20 and 30fps, Pre-Shot mode active, autofocus set to Wide/Tracking and subject detection set to Bird.
“For static subjects, I like an ISO between 320 and 800, single-point AF, Pre-Shot mode and, depending on the situation, subject detection.”
For Kiko, whether carefully setting up his camera ahead of time, or painstakingly researching his subjects, the success of his work stems from his preparations. “Knowing the species and its ecology, we will know where to be and how to act when trying to photograph that animal. There are many questions I think about and try to solve before sitting down with the camera.”
But, he stresses, this is only the start of the process. No matter how well prepared you are, wildlife photography is ultimately a waiting game. “That’s the hardest part. Getting up early, endless waiting, heat, cold, unceasing failures that will dent your confidence – but the important thing is to never give up!”
