Photo Tips and Stories (Page 18)

The addition of a new lens can add life to a kit, sparking creativity and inspiring a new look on old subjects. One such lens example is the Irix 11mm f/4 Firefly and for most photographers using full frame gear, the extreme wide angle focal length is the big appeal for this lens.
 
Shared here is the Irix 11 view of the Pennsylvania Capitol Rotunda ceiling. While this appears to be a simple image to capture, establishing the perfect camera alignment is very challenging. Any decentering within the space causes opposing side detail alignment mismatch and forces slight camera tilt to establish balanced framing with the latter quickly being made apparent by converging lines.
 
While software can be used to correct some issues such as perspective, it cannot easily move the relationship of near and far details. Getting it right in the camera is a much better option.
 
With those bright lights in the frame, an HDR strategy was needed for this picture.
 
Consider getting the Irix 11 or another lens that would be useful to you and provide a creative spark. The holidays are great time to use such a lens and your Christmas tree makes a great 11mm subject.

A larger version of this image is available on Flickr.

Here in the Northern Hemisphere, the winter solstice is rapidly approaching and the days are already short. That means nights are long and, while plenty of indoor photography avails itself at any time of the year, late fall and winter is a great time to photograph the night sky for a few reasons.
 
First, there is more dark time of the day and that means more hours of star visibility. You can spend hours photographing the night sky and still get to bed in time to be well-rested in the AM. When the nights are long, the biting bugs are gone (depending on where you live, the potentially-biting bears may also be gone). One more reason is that, because cold air is not able to hold as much moisture as warm air, winter tends to have clearer skies, and clear skies are of course a prerequisite for star photography.
 
Winter astrophotography is not without downsides and these include less-comfortable temperatures along with a Milky Way alignment that may or may not work well for you. Of course, a bright moon can preclude dark skies at any time of the year.
 
The Milky Way (or any photo of the stars) can make a nice image, but a meteorite is a huge bonus. How do you increase the odds of getting the perfectly-positioned meteorite in the frame? Photographing during a meteor shower is ideal. However, meteorites can happen at any time and a formally-designated "shower" is not a requirement. A big key is to take a lot of photos, significantly increasing the odds of a well-placed shooting star streak.
 
Night sky exposures are long, especially with long exposure noise reduction enabled, and that means taking many photos takes a lot of time. Time-consuming tasks that can be left unattended beg for multitasking. Set up the camera (on a tripod of course) with the desired manual exposure settings dialed in and set the drive mode to high speed burst. Then, using a remote release featuring a shutter release lock, lock the release down and go do something else.
 
If you are fortunate enough to have great stars in your backyard (and you are not concerned about the camera being stolen), that something else could be anything indoors including eating dinner. Or, set up a second camera to photograph the night sky with, perhaps using a different foreground and/or focal length. Read a book, call your mom, sleep, etc. You get the point – and you get the pictures.
 
If long exposure noise reduction is turned off, the set of images captured can later be combined to create a star trails photo (these are especially great if including the North star). Also optional with the same set of images is creating a time-lapse sequence with the stars moving across the sky.
 
For this image, I used the suggested strategy and spent my time working with another camera I had also set up. Every 5 minutes or so, I came back to adjust the composition (keeping the bottom of the Milky Way aligned with the break in the trees). Upon reviewing the images later, I found one with the ideal meteorite streak position (along with four smaller meteorite streaks visible in the full-resolution image).
 
I should mention here that even with a 14mm lens, cameras with imaging sensors having pixel densities as high as the Canon EOS 5Ds R (and all 20+ MP APS-C models) begin to show small star motion-blur streaks at the 25 second exposure used here (except those stars closer to the North Star and the southern equivalent). One option to extend exposure times while avoiding star streaks is to use an equatorial tracking mount. However, a tracking mount will just cause the foreground to be blurred (if a foreground is included in the frame). A great feature of the Sky-Watcher Star Adventurer tracking mount is the 1/2-speed rotation setting option, permitting the motion blur to be balanced between the earth-bound subject and the celestial ones. This setting effectively doubles the exposure times that can be used or, alternatively, it facilitates a 1-stop lower ISO setting. The Star Adventurer likely costs less than you think. Start with the "Astro Package" and consider adding the EQ base and counterweight.
 
Multiple times I've started to assemble a list of the best star photography lenses, but ... that project remains unfinished. That is a really hard list to assemble and there are no perfect astrophotography lenses. However, there are several really good choices and I currently consider the Sigma 14mm f/1.8 DG HSM Art Lens to be the best astrophotography lens available today. I have a dark sky photo trip planned for next summer and the Sigma 14 Art is the primary Lens I plan to take for that purpose.

What is your favorite astrophotography lens?

A larger version of this image is available on Flickr.

I shared this white-tailed buck image in the LensCoat RainCoat Review and decided I would share it individually as well. This deer encounter was mid-afternoon on a mid-fall day in Shenandoah National Park. The time of the day combined with the time of the year meant a relatively low sun angle and the time of the year also meant that the buck was in rut. This nice-sized buck was with a doe and he was making sure that rivals did not intrude and was constantly watching for such.
 
The constantly watching aspect is a key point. During non-rut times, it can be hard to get a buck to lift its head in this national park, but during rut, that problem vanishes. The buck are constantly giving their best alert poses. And, when a challenger shows up, the action gets especially entertaining.
 
Many basic image composition strategies involve establishing balance in the frame. When an included subject has eyes, the direction they are looking adds weight to the side of the frame being peered toward. This means the subject, adding weight itself, should be moved toward the opposite side of the frame for equalization. There is some flexibility as to how far to move the subject and the rule of thirds often has value in this situation.
 
Had this buck simply turned his head the other direction, I would have had to rapidly change AF points to the other side of the frame and recompose to move the majority of empty space to the right side of the animal to again achieve the desired balance. As an aside, if that head turn happens, quickly grab a photo placing the already-selected AF point on the closest eye. Then switch AF points as desired prior to continuing to photograph. I often do this because moments with wildlife can be fleeting and as long as you have the entire animal/bird in the frame and in focus, you still have the option to photograph additional empty space after the animal is vanishes. The photo of empty space probably will not be very special (don't accidentally delete it later), but it can be perfect for stitching into the fast-captured wildlife image.
 
In this case, the buck was motionless for a long enough period of time for me to capture a dozen or so images. All seemed ideally-composed in the viewfinder, most were composed slightly differently and many variants still looked potentially the best during review on the computer. That of course meant that picking only one of them to share was a challenge.
 
Some of you remember that I often use the Canon EF 200-400mm f/4L IS USM Lens at SNP. The zoom is ideal for working around obstructions, but this time I opted to use the Canon EF 600mm f/4L IS II USM Lens. I made this choice primarily to get the stronger background blur (and foreground blur in this case). I know, you are thinking that this is a big and expensive lens. But, it is among my most-frequently-used and a large percentage of my favorite images were captured with it.
 
One editing question regarding this image remains in my mind: should I remove the small branch over the deer's head? Or does that detail add to the image, emphasizing of the thickness of the brush he is in?

A larger version of this image is available on Flickr.

A baby animal photo elicits an "Awwwww" response more frequently than perhaps any other subject. And for a good reason of course – baby animals are just sooooo cute.
 
I find whitetailed deer fawns to be among the cutest baby animals and when a tame fawn became a photo opportunity, I of course made full use of it. While tame is extremely helpful for photographing a wildlife subject, tame does not mean that subject is easy to photograph.
 
Unless feeding, fawns are mostly in constant motion. That is, until they lay down. Newborn fawns spend a significant amount of time lying down, but finding them doing so can be very challenging as they usually pick a hidden location. That means getting a clear photograph of them in this position remains challenging.
 
Fortunately, this particular location choice gave me a window of opportunity.
 
My lens choice was the Canon EF 200-400mm f/4L IS USM Lens. The reason I chose this lens, aside from its excellent overall performance, was for the focal length range combined with the wide aperture. The fawn was in dark woods (heavy tree canopy) and there were plenty of obstructions that I needed to be in front of. Having the focal length range gave me the ability to adjust framing as desired, allowing me to fit the entire fawn in the frame, while keeping the obscuring brush behind me.
 
The f/4 aperture is the widest available in a zoom lens of this range and I made full use of that feature on this day. The fawn was still moving its head enough to warrant the 1/400 sec. shutter speed and a proper exposure at f/4 needed ISO 5000.
 
When the right opportunity occurs, it only takes a short period of time with the right subject to get a card full of great images. When that happens, I become challenged to select one or a few favorites to share. And, that was the case with this fawn. I finally decided to share this one because I liked the overall body position and because the eye is so prominent. Hopefully, the adorable little fawn invoked an "Awwww" from you.

A larger version of this image is available on Flickr.

Give me a Canon EOS 5Ds R, a Canon EF 24-70mm f/2.8L II USM Lens and great clouds on a calm fall morning along the Snake River at Oxbow Bend in Grand Teton National Park and I can be content for ... a very long time. Well, I was probably photographing too furiously to capture all that beauty to be considered "content", but the feeling that, with each click of the shutter, something great may be written to the memory card is very satisfying.
 
The composition shown here is a rather simple one, but one that frequently works well. Frame half of the scene in the upper half of the viewfinder and let the reflection take care of the bottom half, doubling what is already nice. Because the subjects in the scene are far away and water is preventing getting closer from happening, perspective is determined primarily by walking the shoreline. Focal length selection is based on what looks good being included in the image, keeping in mind that distant subjects (including mountains) appear smaller at wider angles. In this case, I liked how the dark clouds and their reflection framed the top and bottom of the image.
 
This image is practically right out of the camera. I added saturation to give the image a bit more life, dropped the highlight brightness slightly and used the healing brush to remove some floaters in the water.

A larger version of this image is available on Flickr.

The World Trade Center Transportation Hub, or "Oculus", is a relatively new addition to New York City and, immediately upon seeing the unique architecture of this structure, looking something like a monster coming out of the streets of the city, my to-do list grew one line longer.
 
I was in the city for the PhotoPlus Expo and with the expo closing at 5:00 PM on weekdays, I always have time to go to a location not too far away, do some quick scouting and set up for a blue hour photo shoot (especially if I cut out of the show a little early). This year, I made that location the WTC Transportation Hub.
 
Upon arrival, I walked around the hub, looking for the best photographic angles with blue hour imagery being my primary objective. You are now looking at one of my favorite images coming out of that effort.
 
The first concept to share here is that the ultra-wide 16mm full frame focal length allowed me to get close enough to frame the entire structure without obstructions and because I was close and the hub was the closest building, perspective made it appear large relative to the other buildings. I included the crosswalks in the foreground because I liked how they balanced with the fins of the hub. Along with the crosswalks come a pair of streets that nicely frame the hub.
 
Another key to lack of obstructions in the frame came from the multiple-frame 8-second exposure composite. Moving people were blurred out of view during the exposure and those not moving were often in a different location in another frame captured just before or just after the primary one. The longer exposures come naturally when the sky starts getting darker and balancing with the lights (though a neutral density filter can also be used). The narrow f/16 aperture also helps extend the exposure time. I didn't need f/16 for the deep depth of field it provides, but in addition to extending the exposure duration, I like the starburst effect f/16 creates from bright lights, such as those on the police car on the left side of the frame.
 
And that brings me to another point. Before you attempt to recreate this image, check on the tripod rules for this location. As I was capturing the last frame included in this composite, with the tripod legs set narrow, between my feet (for both safety and courtesy reasons), the police officer drove over and stated "This is New York City. Tripods are not allowed on public property." Well, I have read (and experienced) otherwise, but ... some jurisdictions have their own rules (I'll have to research this one). I was tired, not interested in creating an issue and ... I already had the image I wanted. So, I moved on, though wishing that I had brought my Feisol TT-15 Mini Tripod along to make subsequent images significantly easier to capture.

A larger version of this image is available on Flickr.

Revisiting a classic: I shared an image similar to this one some time ago, but a publication needed this scene in a 16:9 aspect ratio, meaning that a wider-angle capture was required. Since I was making the effort to process another image from that trip (and it is fall), I thought I'd share here as well. I'm also sharing this image because the Maroon Bells Scenic Area is one of the most beautiful locations I've seen.
 
Maroon Bells has many great landscape image components. Start out with a pair of tightly-positioned fourteener mountain peaks (Maroon Peak and North Maroon Peak) with great character. Mix in some of the most-brilliantly-colored trees on the planet along with beautifully color-contrasting and photogenically-shaped spruce trees. Add light from a clear-sky sunrise just reaching the mountain peaks while the namesake maroon rocks remain in the shade with the cooler lighting emphasizing their color. Take all of that and double it with a reflection in the clear, often-still Maroon Lake that also happens to have some bright green algae growing in it.
 
Capturing the image was easy. The lake is only a short trek from the parking lot. Setup the tripod, focus and switch to manual focus mode, establish final scene framing, lock down the ball head and capture a burst of exposure bracketed images (the burst strategy is helpful because that sun line is moving down the mountain faster than it may seem). That sounds easy (and it was), but capturing the exposure stack was just the final bit of effort required to capture this image.
 
Getting a position for one's tripod at the side of Maroon Lake during peak leaf color at sunrise is far more challenging. This particular location gets one of the largest crowds of photographers I've seen outside outdoors. An extremely early alarm is required after, for most of us, a long trip to get to the Aspen, Colorado area in the first place. While photographing alone in the wilderness may seem more appealing to you, the folks on the lake shore (most of them at least) are very friendly and fun to hang out with as daybreak unfolds.
 
Another challenge awaits your arrival home. Manually processing the HDR stack of a scene with brightness ranging from direct sunlight transitioning immediately to shade on into deep shade (such as within the spruce trees) is a remaining challenge required for this image.
 
As so often is the case with photography, all of the challenges were worth conquering to get the image, many of them in this case.
 
A reflection can double the beauty of a scene and a second camera setup can often double (or at least significantly increase) the number and variety of images captured at the optimal time of day. When photographing a scene such as this, one that requires significant effort and has a high reward potential, I generally have two cameras on tripods simultaneously capturing the moments. In this case, the lenses mounted were two of my favorites, the Canon EF 16-35mm f/4L IS USM Lens and the Canon EF 24-70mm f/2.8L II USM Lens. While the choice of a "wider-angle" image may lead your guess to the model used here, both had the 24mm focal length used here available to them and I didn't have much reason to choose one over the other for this specific image.

A larger version of this image is available on Flickr.

OK, perhaps calling it a composite would be more accurate, but "Hyper-HDR" makes a more-dramatic title, right?
 
During a solar eclipse, the moon moves between the sun and our viewing location, taking, minimally, a bite out of the solar disk. While it is possible to use an exposure that captures a small amount of detail in the moon during totality, I am not aware of anyone able to do so during the partial phases and, even during totality, the moon is poorly lit with the perimeter of the moon quickly becoming too bright. So, to get a perfect moon exposure, a composite is needed.
 
Remember us suggesting that you capture an image of the full moon just-prior to the August 2017 solar eclipse? Well, this post is about what you can do with that image.
 
Start by selecting one of your partial solar eclipse photos to use as the base image. The moon is going to show full regardless of the sun image selected and that means the balance between the amount of sun and moon showing is going to be determined by the sun image. I opted to show a significant portion of the sun in this composite. Hint: error on the side of showing too much sun because the moon can be positioned over more than just the missing portion of the sun.
 
Because my moon image showed a very slight amount of shadowing on the top right (clouds prevented me from getting an image on the night of the fullest moon), the bottom-left side of the moon blended better with the sun, driving my option to select a sun image with the top-right being eclipsed.
 
Process both of the images (if captured in RAW format) and open them as layers in an image editing program (Photoshop is perfect). Position the moon image on the top layer and use a layer mask to allow only the moon itself to remain visible (masking out all of the black). Reposition the moon layer so that it aligns properly over the sun and make any layer mask edits necessary for ideal blending.
 
That's it. The perimeter of the image will be pure black, so feel free to adjust the framing or cropping or even increase the canvas size to create the final image desired.
 
OK, so you missed one or both of these events? No problem. Get your solar filter and take a picture of the sun on the next clear day. Then, on a clear night during the next full moon, capture the moon image with the same lens (sans solar filter of course). Process both images and position your cut-out moon partially over the sun, creating a fake solar eclipse. Very few will spot the difference.

A larger version of this image is available on Flickr.

When the Irix 11mm f/4 Firefly Lens showed up, I had a couple of subjects immediately in mind for it. The Cathedral Parish of St Patrick in Harrisburg, PA was one of them and on the next very-cloudy day, I made the trip to this beautiful place.
 
Why did I need a cloudy day to photograph the interior of a church? Any direct sunlight shining through the windows creates overly bright spots on the interior. While daylight was needed to light the inside of the church and bring life to the stained-glass windows, strongly-diffused sunlight creates a far more even light than direct sunlight.
 
Perhaps the biggest challenge to creating an image like is perfectly aligning the camera to the ceiling. With the centered framing, the camera must be positioned precisely below the subject in the exact center of the frame. Often aiding in finding this exact position are tiles and other structural elements that help indicate where the center of the floor is.
 
I had another aid in this case. The gold-colored subject dead center in the frame is a chandelier that hung far below the ceiling. When I saw the gold chandelier centered in the blue and gray area of the ceiling behind it, I knew that the camera was perfectly centered.
 
Centered, however, did not mean squared. The Really Right Stuff TVC-34 Carbon Fiber Tripod and BH-55 Ball Head were especially helpful for this part of the endeavor. I wanted as much of the ceiling in the frame as possible, so I fully retracted the tripod legs, which, with the precise construction of this model, meant that the tripod was level. Similarly-precisely-constructed is the BH-55 ball head and with the stem fully against the bottom of one of the drop notches, the camera was directed straight up.
 
With the camera centered and angled straight up, only final adjustments were needed. The camera still needed to be rotated within the notch (adjust the camera so that it is visually straight up to get started) and then I simply rotated the tripod on the ground, keeping the camera in its centered location, until the viewfinder showed that it was squared with the ceiling. Yes, panning adjustments could have been made using the head's panning feature, but rotating the camera around the head moves the camera slightly from its centered position, meaning that the tripod would need slight repositioning anyway. So, I simply adjusted the tripod position to begin with. Using a Canon Angle Finder C made finalizing the absolute straight-up framing much easier (as would a vari-angle LCD).
 
Focusing with this manual-focus-only lens was simple. I turned the focus ring to the slight detent/bump at the infinity focus mark and everything in the frame was in focus. The 11mm depth of field is huge at normal subject focus distances and this haptic-feedback setting works for a large number of uses, including with wider apertures than the one used here.
 
This is an HDR image, processed with Photomatix.
 
I left the cathedral quite impressed with the Irix 11mm f/4 Firefly Lens. The angle of view it provides is amazing and my first impression is that image quality is very good, especially for the very low price of this lens.

A full review of this lens is planned for the near future. A larger version of this image is available on Flickr.

A beautiful specimen of one of my favorite animals sings one of my favorite songs under my favorite lighting conditions in Rocky Mountain National Park.
 
I was recently privileged to spend a week chasing Rocky Mountain elk around Colorado with a big lens. For this trip, I based in a small rental cottage just west of Estes Park, CO. Each morning before daylight, I drove the short distance Moraine Park on the east side of RMNP. Upon arrival at the park's huge meadow, I pulled over, turned off the SUV and listened for the awesome sound of elk bugling.
 
With the large number of these animals located in and around the huge Moraine Park meadow, locating a bull was not often a problem. However, it didn't take long to figure out that multiple bulls bugling in close proximity made for the best action during this peak rutting period.
 
Upon locating a number of bulls (and when the 7:00 AM park service meadow curfew lifted), I began to approach the targeted animals from the direction the sun was going to rise. While the majority of the other photographers simply photographed from along the road, I found that hiking into the meadow, often 1/2 mile or more, produced a higher number of images I liked. Reasons for the better images including the ability to approach at a better light angle, better alignment of the background and the option to get a better height with an eye-level camera position generally being preferred.
 
While I came away from this trip with thousands of keeper-grade elk images, it has been difficult to select down to just a few standouts to share with you. Here is why this one stands out to me:
 
First, the sun had just crested the mountain behind me, meaning that this was the warmest-colored light the meadow would see. That light was from directly behind me, meant that shadows were minimized and the low sun angle easily created a strong catchlight in the elk's eye, adding some life to the subject. With clouds shading the background, the sun-lit subject becomes even more eye-catching.
 
That I can almost hear the body position is yet another reason. With the large, symmetrical antlers laid back and the mouth wide open, this elk is obviously bugling. The side-on body position with the head turned just slightly toward the camera usually works ideally. Some frost and golden grasses surrounding the elk with some fall colors in the strongly-blurred background round out the reasons this image became one of my favorites.

A larger version of this image is available on Flickr.

Most of those who photographed the solar eclipse captured images from the beginning until the end, from C1 through C4. While every one of those images may be intriguing, showing all of the stages of the solar eclipse in the same image can take the intrigue to a new level. So, plan on creating at least one solar eclipse composite image. Fortunately, the process is easy. Here are the steps necessary:
 
First, visualize the composite image you want to create. In this case, I went with a single row, but curves, multi-stacked rows, etc. can also work well. Consider searching for results others have created, or just let your imagination go wild for a completely new take on this event.
 
With a design in mind, select the individual images to be included. You likely want a near-equal time period between the partial eclipse selections and that means breaking out your math skills.
 
Use the EXIF information in the images you captured to determine the precise time of totality (or maximum coverage within totality) (or use a reference to find this information). Then look at the capture time of the first image you want included. This gives you a timespan that can be divided by the number of partial eclipse images you want included on either side of totality/max. Select images captured at each of the timespan milestones you selected. Having equal time periods between images is not a rule and I veered slightly from it in my example (partially to avoid some clouds encountered).
 
To cleanly merge into a black background, each image being included in the final composite should have a completely black perimeter. While partial eclipse images most likely already have this attribute, a tightly framed HDR image of totality may not. An easy way to darken the border of these non-conforming images is to darken the darks. Adjust levels or curves to make the dark colors darker until they turn pure black along the entire perimeter.
 
Each image being included in the final composite should be cropped relatively tightly. This facilitates image position adjustment in the composite image without having frame borders overlaying lower layers.
 
Next, the images should be loaded into layers in Photoshop (or a similar app). I use Adobe Bridge for this task, browsing to the folder the files are located in, clicking on the first of the series and shift-clicking on the last to select them all. Then select the "Tools" menu, "Photoshop", "Load files into Photoshop Layers ..." and a new Photoshop document will open with all of the images stacked in layers.
 
Once all images are loaded into the PS file, they will likely be stacked directly on top of each other with a canvas size equal to the largest individual image loaded. So, the next step required is to increase the canvas size (press CTRL-ALT-C) sufficiently to hold the visualized layout. Don't worry if you get this setting wrong as it is easy to further increase the canvas size or crop the image later. My preference is to go big and opt for the crop.
 
The increased canvas size results in insufficient border color with the newly added space likely being transparent. This is an easy problem to fix. Create a new layer (click on the new layer button at the bottom of the layers palette). Select the paint bucket tool (press G, or SHFT-G repeatedly until the paint bucket is the selected tool). Then change the selected color to black (press D, then X). Then click anywhere on the canvas with the new layer selected. That entire layer will turn black. In the layers palette, drag the new layer to the bottom of your layers stack to make it serve as the background.
 
Next, move the image on each layer into place using the move tool (press V, or SHFT-V repeatedly until the move tool is selected). After selecting the layer to be moved (turning off the move tool's auto-select feature might be helpful), drag it into place. Repeat Consider using a grid (View > Show > Grid) with the grid size adjusted (Edit > Preferences > Guides, Grid & Slices...) to something that works for you to help with the alignment process.
 
Massage the design as desired and then publish it to the world. Consider creating multiple layout designs as most of the work has been done at this point and new designs require only minimal effort. Simply drag the layers around as you like, saving a new version of the file each time you create a design you like.
 
While I had three complete camera setups in operation during the eclipse, it was the Canon EF 600mm f/4L IS II USM Lens-based setup that I relied most upon. When I need the most focal length possible, this lens is my go-to option. Yes, the 600 f/4 is big and expensive, but the combination of the impressive image quality it delivers and the frequency in which I use it makes the cost a good value to me. In this case, I relied heavily on the focal length and image quality attributes as a 2x Extender will magnify any aberrations present and there were already enough of them between earth and the extreme-distant subject.
 
Back to the main point of this article: make the effort to create some composite images and you will be rewarded by the results. It has been over a month since the 2017 total eclipse event captivated us, and simply looking back into the images captured on this day will bring back great memories, helping you to re-live that rare experience.

A larger version of this image is available on Flickr.

While a 70-200mm lens is seldom my first choice for wildlife photography, it can work quite well if used for tolerant and/or large animals, especially if used on an APS-C format body. In this case, the camera was full frame and the fawn was quite tame.
 
What tame does not directly translate to, however, is still. While the adorable little white-tailed deer fawn had no problem with my presence, it was constantly moving and often moving very fast. I had a fortunate break when it bounded over the small hill above me, stopped and turned its head. I quickly adjusted the AF point selection slightly to the eye and captured a burst in AF-C focus mode.
 
At 200mm f/2.8 with a close subject and relatively distant background, especially on a full frame camera body, the subject pops from the melted background.
 
At 20 fps, I had many images to choose from as this camera can deliver a sometimes-overwhelming number of images. I liked this specific image for a couple of reasons. The first is of course that the eye is in focus, but that wasn't much of an issue while the fawn was stopped. Nice also was the beautifully-blurred, void-of-distractions background with spring colors that attractively contrast the fawn. I also like that that both ears are fully-contained in the frame and that are very few lines of strong contrast leaving the frame is usually an aspect I like. Lines are often an important compositional element and that most lines in this image point in the general direction of the eye (or to another line in that direction) make them "leading".
 
The extremely versatile 70-200mm f/2.8 lens is one of the most important lenses in many kits. Going beyond 200mm with an f/2.8 aperture results in a substantially higher price tag, making the 200mm focal length the longest affordable f/2.8 option for a large number of photographers. Specifically in this case, the Sony FE 70-200mm f/2.8 GM OSS Lens, though not inexpensive, is currently the best choice for kits based on Sony Alpha cameras.

A larger version of this image is available on Flickr.