technique

A Community Guide to Bird Photography

Bird photography is one of those genres that quietly takes over. It's challenging, unpredictable, sometimes maddening – and completely addictive when it all comes together. You need patience, good fieldcraft, solid camera technique and the ability to make quick decisions, all at the same time.

This post pulls together some of the core ideas from a full guide I've put together for members of my Photography Community on Skool.

Think of this as a taster of what's waiting in the classroom ( LINK )

It's Not About the Gear (Not Really)

One of the strongest themes that comes up again and again is simple: bird photography is less about kit and more about understanding birds. Long lenses help, of course, but timing, fieldcraft, and awareness are what actually make the photograph.

Work with the gear you already have and learn to use it well. Focus on reading behaviour, light, and opportunities rather than chasing the "perfect" setup. And be realistic about what you can comfortably carry for a full outing – staying fresh and present matters more than hauling the biggest lens available.

Your Behaviour Matters More Than You Think

How you move and behave around birds will make or break your images. Rush in, move suddenly, or push too close and the bird will tell you it's uncomfortable long before it flies. Stay calm, move slowly, and respect its space and everything changes.

Learn to recognise a bird's comfort zone and stay on the right side of it. Sit and watch first – you'll start to see patterns in perches, feeding routines, and pre-flight behaviour. Patience isn't passive; it's an active technique that gives you better light, cleaner backgrounds, and more meaningful moments.

Start Close to Home

You don't need an exotic destination to make strong bird photographs. Your garden, local park, or the green space at the end of the road are perfect training grounds.

Regular access to familiar birds beats occasional trips to impressive locations. Repetition sharpens your reactions, improves camera handling, and helps you truly learn both the species and the location. Familiar spots let you predict where birds will appear, how the light falls, and when something is likely to happen – and that groundwork pays off when you do travel further afield.

The One Setting to Protect First

If there's a single technical priority in bird photography, it's shutter speed. Birds rarely stay still, long lenses magnify every movement, and softness from motion blur can't be rescued later.

A simple working approach: aim for around 1/1600 sec as a starting point, higher for small, fast birds or birds in flight. Let ISO rise to protect that shutter speed rather than sacrificing sharpness, and use your widest useful aperture to support both speed and subject separation from the background.

Autofocus, Flight, and the Hard Stuff

Birds in flight can feel like a different discipline altogether – and in many ways, they are. Fast shutter speeds, accurate tracking, and clean framing all need to come together in fractions of a second.

Use continuous AF and subject tracking, and take the time to learn how your specific system actually behaves. Start with larger, slower, more predictable birds to build confidence before tackling the fast, erratic ones. And use burst mode thoughtfully – fire it when something is actually happening, rather than spraying at everything that moves.

Light, Background, and Story

Good bird photographs aren't just about the bird – they're about light, background, and what's actually happening in the frame.

Early and late light give softer contrast, warmer tones, and better feather detail, often when birds are most active too. Your shooting position has a huge impact on how connected the final image feels – getting down to eye level with the bird changes everything. And clean, sympathetic backgrounds combined with considered use of habitat can turn a simple record shot into a photograph with real story and mood.

Where to Begin: A Simple Starting Plan

If you're getting serious about bird photography, here's a straightforward framework to work from:

Start in your garden or local park and visit often. Spend time watching before you shoot – look for perches, patterns, and pre-flight behaviour. Work with the gear you already own, using as much focal length as is comfortable. Keep shutter speed high, let ISO do its job, and begin at a wide aperture. Use continuous AF and subject tracking if your camera supports it. Pay attention to the bird's comfort, the quality of light, your background, and your shooting angle. And wait for behaviour and gesture – not just a "bird on a stick" confirmation shot.

Want the Full Guide?

This post just scratches the surface of what's inside A Community Guide to Bird Photography, which lives in the classroom inside my Photography Community on Skool.

In there you'll find the complete written guide laid out step by step, diagrams and example images with breakdowns from real shoots, and practical starting setups, checklists, and exercises you can take straight into the field.

If you'd like to dive deeper and join a group of photographers actively working on this together, come and join us.

Fix IMPOSSIBLE Backgrounds Instantly ( Lightroom + Photoshop )

Recently, Steven Gotz, a member of the Photography Community on SKOOL ( LINK ), sent over a brilliant RAW file of a condor. Stunning subject, great light, one problem: a massive fence running right through the background.

Rather than leave it on the shelf, I figured it was the perfect excuse to put the latest updates in Lightroom and Photoshop Beta through their paces. What would have taken ages with the Clone Stamp tool a couple of years ago can now be sorted in seconds. Here's exactly how I did it, using two different workflows.

Workflow 1: Photoshop Beta with Firefly Image 5

This is the quickest route right now, and the results are genuinely impressive.

The key is using the new Firefly Image 5 (Preview) model inside Photoshop Beta. It's been built specifically for editing while preserving detail, which matters a lot when you're dealing with complex textures like feathers and rocky backgrounds.

  1. From Lightroom to Photoshop Beta. Right-click the image in Lightroom and choose Edit In > Adobe Photoshop Beta.

  2. Select All. Once you're in Photoshop, go to Select > All. This gives the AI the full context of the frame before you do anything.

  3. Switch to Firefly Image 5. Click Generative Fill in the contextual taskbar. Here's the bit that matters: don't use the standard model. Switch it to Firefly Image 5 (Preview) from the dropdown.

  4. The prompt. This model needs a prompt to work, unlike some of the others. I kept it simple: "remove the fence from this picture."

  5. Refine the detail. The AI did a great job on the background, but because Firefly Image 5 currently outputs at 2K, the fine detail around the bird's eye and feathers was slightly softer than the original RAW. The fix is straightforward: use the Object Selection Tool to select the bird and the rock, then fill that area on the layer mask with black. That reveals the sharp original bird while keeping the AI-cleared background intact.

Workflow 2: Lightroom to Firefly Web

Not on the Photoshop Beta? No problem. You can get to the same place via Lightroom's sharing feature.

  1. Share to Firefly. In Lightroom, hit the Share button (top right) and select Firefly: Edit an image. This opens your browser and drops the photo straight into the Adobe Firefly web interface.

  2. Settings and generate. Select Firefly Image 5, bump the resolution to 2K, use the same prompt ("remove the fence from this picture"), and hit generate.

  3. Back to Photoshop. Download the cleaned image, go back to Lightroom, and open the original file in the regular version of Photoshop.

  4. Stack and align. Use File > Place Embedded to bring the Firefly-cleaned version in on top of your original. Rasterise the top layer, select both layers, then go to Edit > Auto-Align Layers to make sure everything lines up perfectly.

  5. The masking trick. Same principle as Workflow 1: use the Object Selection Tool to select the bird and the rock, then hold Option (Mac) or Alt (Windows) and click the mask icon. This hides the AI version of the bird and brings back the sharp, high-detail original underneath.

Why the masking step matters

This is the part I think is really important. It's not about letting AI take over the whole image. It's about using it to fix a specific problem, in this case the background, while keeping the actual subject exactly as it was captured in the RAW file. The integrity of the original is what you're protecting.

Have a look through your archives. Chances are there are shots you wrote off because of something in the background. It might be worth giving them another look.

Reality vs Photoshop - Is Faking It Cheating? 🤷‍♂️

Car photography always looks that little bit more dramatic when there's a wet road reflection underneath the vehicle. But what do you do when the road is bone dry? In this guide, I'll walk you through two ways to fake a puddle reflection in Photoshop -- one traditional, one powered by AI -- and then I'll leave you with a question worth thinking about.

Method One: The Manual Approach

Step 1: Select the Car

Start by grabbing the Object Selection tool from the toolbar. In the options bar at the top of the screen, make sure the mode is set to Cloud for the best possible result, then click Select Subject. Photoshop will do a surprisingly good job of selecting the car in just a moment or two.

Step 2: Copy the Car onto Its Own Layer

With your selection active, press Command + J (Mac) or Control + J (Windows) to copy the car up onto a new layer. If you toggle every other layer off, you should see just the isolated car sitting cleanly on a transparent background.

Step 3: Flip It Upside Down

Go to Edit > Transform > Flip Vertical. This flips the car layer to create the basis of your reflection. Now grab the Move tool, hold down Shift (to keep movement perfectly vertical) and drag the flipped car downwards until the tyres of both the original and the reflection are just touching.

If things look slightly off-angle, go to Edit > Free Transform, move your cursor just outside the bounding box until you see the rotation cursor, and give it a gentle nudge until it lines up properly.

Step 4: Add a Black Layer Mask

Rename this layer "Reflection" to keep things tidy. Then, holding down Option (Mac) or Alt (Windows), click the Layer Mask icon at the bottom of the Layers panel. This adds a black mask that hides the layer entirely -- which is exactly what you want for now.

Step 5: Draw the Puddle Shape

Select the Lasso tool and make sure you click directly on the layer mask thumbnail (you should see a white border appear around it, confirming it's active). Now draw a rough, freehand puddle shape beneath the car's tyres -- it doesn't need to be perfect, natural-looking and irregular is actually better here.

Step 6: Fill with White to Reveal the Reflection

Go to Edit > Fill, set the contents to White, and click OK. The reflection will now appear only within the puddle shape you drew.

Step 7: Soften the Edges

Zoom in and you'll notice the puddle edge looks very sharp and unnatural. To fix that, go to Filter > Blur > Gaussian Blur and apply just a small amount -- around 3 pixels is usually enough. This softens the boundary and helps the reflection blend into the ground convincingly.

Finally, you can reduce the opacity of the Reflection layer slightly to make the whole thing look a little more subtle and true to life.

Method Two: Using Adobe Firefly's Generative Fill

If you want a quicker and arguably more realistic result, Photoshop's AI tools can do a remarkable job here.

Step 1: Load the Puddle Selection

Hold Command (Mac) or Control (Windows) and click directly on the layer mask from your first reflection layer. This loads the puddle shape back as an active selection, saving you from having to draw it again.

Step 2: Select the Background Layer

Click on the main image layer, so that Generative Fill works on the background rather than the reflection layer.

Step 3: Run Generative Fill

In the contextual taskbar, click Generative Fill and type a prompt along the lines of: a reflection of car in puddle of water. For the AI model, select Firefly (specifically the Firefly Built and Expand model released in January 2026). If you're on a Creative Cloud Pro account, this won't cost you any credits -- whereas models like Flux or Nano Banana can use anywhere between 20 and 30 credits per generation.

Click Generate.

Step 4: Choose Your Favourite Variation

Firefly will produce three variations for you to compare. Have a look through them and pick the one that looks most convincing. You'll likely notice that the AI does something quite clever: it reflects the sky in the puddle on the far side of the car, just as real water would. Achieving that manually in Photoshop would take considerably more time and effort.

Which Method Should You Use?

For a quick, dirty result, the manual method works well and gives you full control. But for something that genuinely looks like a photograph taken on a wet road, the AI approach is hard to argue with -- particularly because of how naturally it handles the environmental reflections in the water.

A Question Worth Thinking About

Here's something to consider. When photographing that car, there were really two options: bring bottles of water to pour around the car and create a real puddle on the dry road, or add the reflection later in post-production, either manually or with AI.

Both approaches result in a reflection that wasn't originally there. The only difference is when in the process you add it.

So what do you think -- is there a meaningful ethical difference between physically creating something on location and digitally adding it afterwards? When it comes to reflections specifically, does it matter?

Let me know your thoughts in the comments below.

Photoshop Compositing Hack with Harmonize

If you use Photoshop for compositing, you’ve probably tried out the Harmonize feature currently in Photoshop beta. It’s a great addition when blending objects into a scene, adjusting color and adding shadows to make everything look more natural. The problem is, Harmonize isn’t really designed for people - it tends to break down on human subjects.

But I’ve found a handy workaround that makes Harmonize incredibly useful when compositing people, particularly when it comes to the hardest part: creating realistic contact and cast shadows.

Why Shadows Are the Hardest Part

When you’re compositing, matching colors is one thing, but making sure the subject looks truly grounded in the scene is another. Shadows - both contact shadows right under the feet, and cast shadows stretching into the scene - are what really sell the effect. Without them, the subject looks like they’re floating.

Testing Harmonize on People

Harmonize works brilliantly on objects, but when applied to a person it usually ruins detail and texture. For example, in a composite with a Viking figure photographed in the studio, Harmonize messed up the fine detail in the image but still attempted to generate shadows. Not perfect, but promising.

The Workaround: Adding a Fake Light Source

Here’s where the trick comes in. By adding a fake light source into the background before running Harmonize, the results improve dramatically.

  • Duplicate your background layer.

  • With a soft white brush, paint a bright “light spot” in the sky area.

  • Run Harmonize again with your subject layer active.

This extra light influences how Harmonize interprets the scene and produces stronger, more believable contact and cast shadows.

Keeping Only the Shadows

Of course, we don’t want the strange coloring Harmonize often applies to people. To fix this:

  1. Rasterize the Harmonize layer to make it editable.

  2. Apply the layer mask so only the visible result remains.

  3. Add a black layer mask to hide everything.

  4. With a white brush, paint back just the shadows from the Harmonize layer.

Now you have realistic shadows under your subject, without losing the original detail and color of the person.

Bonus Tip: Dealing with Flyaway Hair

Compositing hair can be a nightmare. Instead of spending hours trying to cut out every strand, I’ve had success using Generative Fill.

  • Make a quick selection of the hair area.

  • In Generative Fill (Firefly Image 3 model), type something like “long brown wavy hair blowing in the wind”.

  • Photoshop generates natural-looking variations that save a ton of time.

Final Thoughts

Harmonize might not be built for people yet, but with this compositing hack it becomes a powerful tool for one of the trickiest parts of the job — shadows. Add in the Generative Fill trick for hair, and you’ve got a much faster way to create composites that look believable.

Give it a try and see how it works in your own projects.

AI Just Changed How We ENHANCE EYES in PHOTOSHOP 💥

Two Ways to Add Detail to Dark Eyes in Photoshop

If you’ve ever edited a portrait where the eyes are so dark there’s no detail to recover, you’ll know how tricky it can be. Brightening them often makes things look worse, leaving the subject with flat, lifeless eyes.

In the video above, I walk you through two powerful techniques that solve this problem:

  • A reliable method using Photoshop’s traditional tools

  • A newer approach that uses AI to generate realistic iris detail

Here’s a quick overview of what you’ll see in the tutorial.

The Traditional Photoshop Method

This approach has been in my toolkit for years. It doesn’t try to recover what isn’t there. Instead it creates the impression of natural iris texture.

By adding grain, applying a subtle radial blur, and carefully masking the effect, you can fake detail that looks convincing. A touch of colour adjustment finishes the look, leaving you with eyes that feel alive instead of flat.

It’s a manual process but it gives you full control, and the result is surprisingly realistic.

The AI-Powered Method

Photoshop’s Generative Fill takes things in a different direction. With a simple selection around the iris and a prompt like “brown iris identification pattern”, Photoshop can generate natural-looking iris textures, the kind of fine patterns you’d expect to see in a close-up eye photo.

Once the AI has created the base texture, you can enhance it further using Camera Raw:

  • brighten the iris

  • increase contrast, clarity, and texture

  • even add a little extra saturation

Add a subtle catchlight and the transformation is incredible. The eyes go from lifeless to full of depth and realism in seconds.

Why These Techniques Matter

Eyes are the focal point of most portraits. If they’re dark and featureless, the whole image suffers.

These two techniques, one traditional and one modern, give you reliable options to fix the problem. Whether you want the hands-on control of Photoshop’s tools or the speed and realism of AI, you’ll be able to bring that essential spark back into the eyes.

AI versus Old-School Photoshop – Which One Wins?

Artificial Intelligence is revolutionizing Photoshop, but is it always the best option?

In this video, I show how technology we've had in Photoshop for a number of years can produce a much better result when expanding an image ... and the results might surprise you!

🔍 Watch to find out:
✅ Alterative tools/techniques to Generative Expand
✅ How to get BEST results using Content Aware Scale

⏰ Chapters:
00:00 - Introduction
02:03 - Generative Expand
04:30 - Content Aware FIll
06:58 - Content Aware Scale
09:50 - Even BETTER Results

😲 Most People MISS This! Perfect Compositing & Lighting in Photoshop

Did you know that Adobe’s Generative Fill AI isn’t just about adding objects—it’s smart enough to match the lighting and shadows in your photos perfectly? 🤯

In this video, I show you how Generative Fill uses AI to seamlessly blend new elements such as hair into your image while maintaining realistic light, shadows, and perspective.

⏰ Chapters:
00:00 - Introduction
00:40 - Adding Hair / Matching Lighting
03:50 - Viking Composite
05:10 - Viking Hair Selection New Workflow

Improved SUBJECT and SKY SELECTIONS with the INTERSECT MASKING TOOL in Lightroom and Camera Raw

Fully understand the EDITING POWER of the Intersect Masking Tool in Lightroom and Camera and see how to achieve much improved selections of Subjects and Sky.

You’ll learn:
✅ How to fully understand the Intersect command and use it effectively
✅ Better Subject & Sky Selections for improved accuracy
✅ Advanced local adjustments for pro-level results
✅ Tips & tricks to refine your edits for a natural and seamless look

⏰ Chapters:
00:00 - Introduction
00:59 - Cropping
01:16 - Remove Tool
01:39 - Dark and Moody Preset
02:22 - Adaptive Sky Preset
02:47 - Color Mixer
03:27 - Inproved Select Subject
05:31 - Improved Sky Selection
06:45 - Intersect for Adjusting Brightness
09:25 - Making the Alloy Wheels POP!
10:22 - Global Colour Adjustments
12:39 - Refinijng the Adpative Sky Mask
13:10 - Before / After