Nearly every wildlife photographer is familiar with the traditional way to photograph hummingbirds in flight. It requires a feeder or small batch of sugar water-enriched flowers, a fake background and more flashes than you can shake a stick at. With this setup it's possible to freeze the bird's wings because the effective shutter speed is the duration of the flash--between 1/5000th and 1/20,000th of a second. This is still the most reliable way to totally freeze the bird's movements and get enough depth of field for the entire bird to be in focus. It's also something that Cathy and I have never done.

There are a couple of reasons we have never attempted to photograph hummingbirds in this way. First, I have always thought that most hummingbird images photographed in this way look a little too perfect, almost sterile. With the fake background and the numerous flashes perfectly lighting everything in the scene, it looks more like a subject photographed in a studio rather than something captured in the natural world. Second, this kind of photography ties the photographer to one spot, with the edges of the flowers just coming into one side of the frame. Every time the hummingbird comes into that frame, you press the cable release or shutter button, so you don't even move the camera during the session. I prefer to explore and be a bit more spontaneous.

I like pointing my camera in different directions. The third reason I haven't done this type of hummingbird photography; I'm lazy. Unless I absolutely have to mess with multiple flashes and their stands, I'm not going to do it, and you don't need the multiple flashes if you photograph roosting birds.

Consequently, we pretty much limited ourselves to photos of roosting hummingbirds during the film days. And there's nothing wrong with photographing roosting hummingbirds. Some of my favorite images are of roosting hummingbirds. However, digital photography has changed things. Higher ISOs and a greater sensitivity to light have opened up hummingbird flight photography to lazy people. On a sunny day, it's even possible to stop the motion of a hummingbird's wings without using a flash, but I often prefer to blur the wings. It gives an impression of how fast the bird's wings are moving, especially if the rest of the bird is sharp. There is still the problem of the background. Let's face it. These creatures are tiny, and they often forage in very messy environments. It's no different than any other wild thing, though. Most of the time, they're going to be in surroundings that are less than perfect, and that's what makes it so special when all of the included picture elements do support your center of interest.

Composing a strong image of a hummingbird may be the same as composing one with any other wildlife subject, but hummingbirds have their own built in advantages. These creatures are often so colorful they make interesting subjects even if they're small in the frame. If they are large in the frame, the feather patterns and colors alone are enough to create a strong image--the bird doesn't need to be doing anything special. The big problem is these birds often feed in big bunches of flowers--usually red or yellow flowers--and it's easy to lose the hummingbird against such a background. That's where patience and luck come in. Of course most of the time the bird will refuse to go to the right spot, the spot where everything does come together, but have a little faith. The birds do cooperate from time to time. If this is too frustrating for you, and it is for many photographers, stick with the tried and true artificial backgrounds. Personally, I feel that the birds can and do compose images that are beyond anything I could have imagined. They may not do it often, but when they do, it makes it all worthwhile.

Hummingbirds, like this scintillant in Costa Rica, are often so colorful they make strong subjects even when they are small in the frame. Canon EOS 40D, 100-400mm

Try not to let preconceived notions of how to photograph these birds blind you to the possibilities. This rufous-tailed in Costa Rica was photographed with a 28mm lens at very close range because I wanted to show the bird's relationship to its environment. Because the bird was flashed, it stand out well against the shady background.

This juvenile perched in just the perfect spot, and even tilted its head toward the flowers for us, Southern Arizona. Canon EOS 40D, 100-400mm

Take advantage of what the birds offer. This green mango kept landing right next to me at our lodge in Costa Rica. Finally, I got a clue and switched to a 180 macro for a tight shot of the bird's feather patterns.

As with other wildlife subjects, if you can include a picture element that lets the viewer know what the weather was like--here we have a magnificent in the rain--you will keep their interest longer. Canon EOS 40D, 100-400mm

Even perching birds, like this Anna's on the California coast, sometimes go to extremes to help the photographer. Canon EOS 1D Mark III, 500mm and 2X with fill flash

The birds, like this juvenile in Southern Arizona, will sometimes compose scenes that you could hardly even imagine. Having the bird face me as it fed on aloe blossoms, with out-of-focus aloes in the background was more than I could have planned. Canon EOS 1D Mark III, 500mm and 2X

This rufous-tailed in Costa Rica picked the perfect background without any instruction or direction from me. Canon EOS 1D Mark III, 500mm and 2X

This white-throated mountain gem is feeding in a beautiful mess. Because the flowers are warm-colored, the first thing the viewer sees is the flowers. In fact, the viewer might totally overlook the hummingbird if not for the white throat and eye-stripe. But who can resist photographing one, even if it's in a mess. Canon EOS 1D Mark III, 500mm and 1.4X

The same white-throated mountain gem eventually moved to a much better background. Now we have the colorful flowers and the bird stands out well. Canon EOS 1D Mark III, 500mm and 1.4X

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