I admit it. I’m a big sucker for photographing these amazing birds, and I’m lucky to live within a short driving distance of the California coastline where it is usually easy to find and photograph them. My technique is usually to find a spot either at the top of a steep coastal cliff or on a promontory that extends a bit into the ocean, where they tend to come much closer to the land. Then I attach the long lens and wait.
But this time the story is a bit different. I was photographing a pair of sea otters alternatively cavorting and sleeping in a kelp forest near the south end of Point Lobos. I just happened to look away from the viewfinder for a moment (always a good idea!) when I saw a flock of a half dozen or more of these birds approaching over a nearby rocky ridge. I quickly swung the camera around on the tripod and managed to squeeze off a handful of shots as they passed.
This is a crop from a vertical format photograph that had a lot of white space in it. To be more accurate there was a lot of “nearly white gray space” in the photo since the birds were photographed against a background of thinning fog illuminated by the emerging sun. The only significant post-processing of this photo was to lighten the fog to virtually white so that the birds would stand out more from the background. (In answer to the inevitable question: No, the birds were not “assembled” in post-processing. They were actually obliging enough to appear in exactly this configuration as they flew over. :-)
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G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.
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