Birds of a feather

Aviation photographer Mark Lynham swaps planes for birds while isolating at home

My photography journey started rather late in life. In 2012, when I was 48, I did an Open University photography course, and it ignited a passion that continues to grow. To develop my skills after that course, I have attended numerous workshops of different genres and entered competitions, which continually feeds the learning.

I am currently a Master Craftsman with the Guild of Photographers, and have been their Photographer Of The Year for the last three years.

In my early years, I was shooting everything and anything, but my main genres now are modern military aircraft and wildlife. For me they work perfectly together: I predominantly shoot wildlife in the spring and autumn, when it’s at its busiest, and then shoot aviation during the summer season.

The past couple of months with Covid-19 has meant self-isolating, as both my wife and I are asthmatic. This means I am having to make the most of the back garden – but I have to say that I am thoroughly enjoying it, and it’s keeping me creative during this slightly peculiar time.

Stay silent

I shot this on my Sony Alpha 9. It operates with totally silent shooting, which can be an incredible advantage for wildlife. I’ll use either my 600mm f/4 prime lens or a 200600mm zoom, which can often give more flexibility. For the garden, I will have the camera on a tripod; I know roughly where the bird will land, so I can ready myself beforehand. I use a throw-over hide.

Warm and soft lighting

For me, the light is a huge part of any image. I favour early mornings and late afternoons, when the sun is at a lower position and isn’t as harsh; it also gives the image a warmer feel. I like a bit of soft white cloud which will diffuse the light and make it even softer, like

I’m using a big softbox.

Entice your subjects

To be able to get the best-possible photographs I can, I have put up a few props in the garden – I’m generally using ‘pretty’ sticks that are placed around the feeder area. I’ve also made a reflection pool from a garden tray that’s working out nicely. The key is to make sure that your background compliments the image that you want. Get some distance between the prop and the background, and also look for an area where the background colours and light will add to the image.

Use the rule of thirds

Good composition is vital to any image, and I try to get it right in camera as much as I can, generally by moving the focus point around on the back of the camera. Obviously it’s not always possible, so then it all comes down to creative cropping in post-processing.

The rule of thirds is an obvious choice. This robin is looking off camera left, so space is given on that side for that reason. If the robin was centrally framed, the shot would lose a lot of impact.

Faster focusing

I have my camera set to AF-C (continuous autofocus); while half-pressing the shutter, it will continue to keep focus – so if the bird moves position slightly, it will still be in focus.

I also use back-button focusing, which means I have taken the focus away from the half-press of the shutter button at the front of the camera, and assigned it to the AEL button (Auto Exposure Lock) on the back. This makes it much easier for the genres I shoot, which feature a lot of moving objects.

There are many ways you can approach a still-life setup, like studying objects found around your house or in the garden, such as the cutlery in your kitchen or the tools in your shed. You may even want to go one step further and build a bespoke sculpture out of pretty much anything that doesn’t move, like fruit!

The still-life photography genre is a great way to unwind and lose yourself in a creative project that requires only your ideas and a few simple props. When it comes to shooting your still-life, it is best to take a slow approach. After all, your subject isn’t going anywhere! Think about how you want to light it, whether you want to use natural or flash light, and which lens you are going to use. Often a wide-angle lens isn’t appropriate for a still-life subject; you may find something like a 50mm or 80mm to be a better option. But there are no rules here.

A tripod and reflector can come in handy for a still-life shot. If you don’t have either of these, you can always improvise by using a stack of books as a tripod, and a piece of card with tin foil as a reflector – don’t let the lack of kit hold you back.

As always, the more creative and original you can be, the more chance you will have of us noticing your entry – so think outside the box! Good luck, and we look forward to seeing the still-life images you capture.