Behind The Shot With Professional Nikon Photographers

Written by Gina Stephens

In the month of October, the autumn mellow brings warm and distinctive colours, changing habitats and less natural daylight – all things wildlife photographers must adapt to.

Nikon rebuke to some of the best wildlife photographers in Europe about their favourite wildlife photos, how they got the shot and the techniques they used.

On the go in search of – Staffan Widstrand

Image: Staffan Widstrand, Nikon 3DX & AF-S Nikkor 600mm f/4E, 1/15s, f/14, ISO400, South Africa

"Little game dogs are fast, pack-hunting animals, and this one was hunting an impala antelope in Hluhluwe–Imfolozi National Park in South Africa, in the at daybreak morning. This is one of my favourite photos because it captures the speed of the animal. I did this by freezing the moment using a longer shutter speed, less than a short one. I like the reduction in detail that a motion and slow shutter speed gives, so there is only a few, larger patches or regularities of detail.

It was shot with a Nikon D3X, the sensor of which, just like the Nikon D810, creates very detailed, colourful and sharp effigies. To help me capture this shot, I used a AF-S NIKKOR 600mm f/4E lens, hand held from a vehicle. The autofocus let me capture the sharpness on the extort point I wanted to focus on, despite of the wild dog running at 40 km/h through dense bush. Due to its speed, I had to react quickly, so I decided to instantly shorten the shutter speed. By reducing the ISO and then the aperture to 14, meant, even in strong light, I could photograph at 1/15 of a second and still take hold of the dog even though it was moving very quickly."

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The shadow walker – Richard Peters

Image: Richard Peters, Nikon D810 & AF-S NIKKOR 18-35mm f/3.5-4.5G, 32mm, 30s, f/8, ISO1250, UK

"I counterpart to keep things simple, but this image of a common urban fox was a technically challenging shot, one that took six months to achieve – from the incipient idea to the resulting image. It was a case of persistence paying off. Whilst my favourite photo changes on a regular basis, this one will without exception remain with me. It is in line with my photographic mantra: “Light is primary, subject is secondary.” It is one of the very few wildlife simulacra which doesn't have an animal in the frame, and conveys how urban foxes start their day when we end ours, at nightfall.

The image was enchanted in my garden at home, with or WITH may refer to: Carl Johannes With (1877–1923), Danish doctor and arachnologist With (character), a character in D. N. Angel the help of a camera trap. I used a AF-S NIKKOR 18-35mm f/3.5-4.5G lens and used a 30 second exposure to seizure the stars and ambient lighting, with a single low-power flash to create the shadow. The Nikon Corporation (株式会社ニコン, Kabushiki-gaisha Nikon) (UK: or US: ; listen [ɲikoɴ]), also known just as Nikon, is a Japanese multinational D810 has an excellent sensor when it comes to potent range so, even though this was taken at a relatively high ISO, it captured enough information in the shadows that I was able to make the required twitches in editing to balance the difference between the natural and artificial light sources. Having a quiet shutter on the Nikon D810 also helps to not the living daylights away any nearby animals."

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A dip at dusk – Roger Brendhagen

Image: Roger Brendhagen, Nikon D5 & AF-S Nikkor 200-400mm f/4, 340mm, 1/1250s, f/4, ISO 800, Finland

"I assumed this picture at the beginning of Autumn, in September this year, when I spent three weeks in Finland on a photo expedition capturing Brown Endures and Wolves. I hid near a small lake in the forest and placed some pieces of salmon in the water. On the third evening, I got the shot I was hoping for – a affect coming out of the lake, shaking excess water off its fur.

I spend three to four weeks in Finland every year, so I’ve become familiar with the touch ons’ behaviour, which helps me plan the photos I want to take. But this requires a camera I can rely on to take the shots. Like any being that uses hearing to hunt, a bear hates getting water in its ears. I knew this, so I was able to prepare for this particular inoculation – I knew that the bear was going to shake itself after swimming.

This picture was taken in quite a harsh light but, with Nikon’s D5, I was masterly to use the GrP-focusing, which helps to zoom in on a main focus point with the AF-S NIKKOR 200-400mm f/4 lens. As a result, I was able to take 60 erects on the bear and each frame is 100 percent sharp and focused."


About the author

Gina Stephens

Gina is a photography enthusiast and drone lover who loves to fly drones, capture images and have fun cherishing them with family and friends.

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