From Film to Digital: The Learning Continues

By Carree M.

 

In a previous blog, I discussed lessons I learned from a tree while backyard birding to hone my audio and visual bird identification skills. In that article was a selection of bird photos that drummed up interest and inquiries. As a follow up to that article I’m taking a moment to discuss my development as a photographer and offer pointers to help guide your photo journey.

 

Snow Goose mid flight.

 

National Geographic Wasn’t Interested…

My first foray into photography began with a plastic 110 film camera. I photographed the “active” lives of my stuffed animals and was frustrated that the subjects, while “in focus” in the viewfinder, ended up blurry in the prints. Clearly that setback would be remedied when I was given an “adult” 35mm, or so I thought. What I didn’t know at the time was that I was being presented with a crash course in depth of field and camera limitations. It wasn’t until I purchased a manual 35mm Pentax for a college photography course that everything started to make sense. Weekly assignments required students to take a minimum number of photos and process the film and prints in the school’s lab. Film and paper weren’t cheap so it was in my best interest to master the art of framing and knowledge of settings or find myself going through said pricey materials faster than I could replenish funds.

 

A Burrowing Owl looks right at the camera.

I attribute my current approach to photography and the skills I picked up along the way to this experience of being thrown in the deep end with a compelling reason (my wallet) to figure things out quickly.

 

Do Your Homework

I can assure you that wildlife doesn’t care how much you spent on equipment or that you need a moment to figure out settings. This is why it’s important to not only know your camera and why your photos look the way they do, but also get acquainted with routines and behaviors of your subject(s). Pick a local spot you can visit on a regular basis (while adhering to current mandates and park closures) and take notes on observations: what is hanging around at certain times of day, the lighting situation throughout the day, etc.

 

Red-tailed Hawk and Snow Goose sandwich.

Why does this matter? Let’s say you miss the perfect shot, and yes it happens to the best of us, if you’ve done your homework you have info on whether or not that bird/mammal/insect makes a habit of repeatedly returning to a spot or just making a pit stop at a certain time of day.…

Osprey Banding: Explained

By Teresa Ely

 

My name is Teresa and I am the Banding Manager at Golden Gate Raptor Observatory (GGRO), a program of the Golden Gate National Parks Conservancy. I started working with raptors 25 years ago by presenting raptors for public outreach programs, and I began banding raptors in 2008 as an intern for Golden Gate Raptor Observatory. I continued to band and count migrating raptors at different migrations stations throughout the west and in Veracruz, Mexico. In 2016, I received my Master’s degree studying America Kestrel body size change as it relates to population decline, and then returned to GGRO as the Banding Manager. I have been involved with banding the osprey nestlings at SF Bay Osprey’s Whirley Crane site since banding began in 2017. I know there have been a few questions out there about banding, and thought I would share a little bit about the why we band raptors and the banding process.

Each year, millions of birds are banded throughout North America and the world. The information from banding birds is used to monitor the status and trends of resident and migratory bird populations. To band birds, you must have the appropriate state and federal permits, and years of banding and handling experience.

 

Teresa holding ZK while GGRO intern Kirsti Carr takes a culmen (beak) measurement. Teresa is gently holding the bird’s head steady to take a quick and accurate measurement. Other measurements like tail, hallux claw (the largest talon), and wing length are also taken.

You might be wondering – why do we use both a color band and a metal band on the osprey nestlings? Why not just a color band?

Color bands, also known as auxiliary markers, are usually made from plastic or metal and placed on the leg opposite to the one that receives a metal band. Researchers must coordinate with California Department of Fish and Wildlife, as well as other raptor researchers in California to determine a researcher specific color and alphanumeric code. The goal is to avoid duplicating work by colleagues and to reduce the disturbance to the raptor. However, sometimes some colors for the bands are used in two different regions in the United States, and that is why it is important to get the banding code on the color band.

Trained raptor biologists who are permitted, will enter the nest and retrieve the nestlings. It is unsafe to band the nestlings at the nest on the crane, so a system of ropes and people are used to lower the osprey safely to the ground.…

Audubon California Advocacy Day Goes Virtual

By Maureen Lahiff 

 

Traditionally, California Advocacy Day has been an in-person event that takes place in Sacramento, California. In a good year, you’ll find a dozen or so GGBA members participating. The day’s activities vary and include briefings with Audubon California staff. Mike Lynes, who is the policy director for Audubon California, had previously served GGBA as Conservation Director, General Counsel and Executive Director.  Participants also met with their assembly members and Senators, as well as with other California Audubon staff members. Conversations over lunch with members of other Audubon chapters were a highlight of the day.

In 2019, about 75 Audubon supporters participated in Advocacy Day. This year’s advocacy day took place on June 2nd. One of the highlights was the virtual interactions with with California legislators. Online preparation sessions and advocacy meetings were by Zoom meetings hosted by Audubon California staff members. Most participants reported this online adventure as a good experience. This year, over 350 people registered! That’s quite a jump from 75 attendees. Although I haven’t seen metrics, I strongly suspect that Audubon members from a much wider geographic range were able to participate because of the accessibility of this online format.

So now that you have a little background on Advocacy Day, here’s more information on specific events, followed by some action items you can take with you to expand and promote your own outreach on behalf on the birds we love.

Advocacy Day went online this year! Advocacy Day 2020 bird photo by Harry Collins.

The Prep Webinar Series

Pedro Hernández, Audubon California’s Outreach and Engagement Manager for Climate Policies, coordinated a series of four prep webinars in May. Two of the webinars focused on issues related to talking with elected legislators or their staff members, as well as specific issues to be addressed during the actual Advocacy Day. The other two webinars focused on environmental issues in the Central Valley and along California’s coast.

I attended all four of these webinars.  Although there was some repetition, I really enjoyed the series and felt I learned a lot. I’d recommend tuning into prep webinars.

2020 Advocacy Day Priorities

Every year, Audubon Californias’ policy team selects a few key themes and bills. The focus shifted a bit this May, as the magnitude of the state budget situation became clearer.

AB 3030 by Assembly member Ash Kalra of San José makes a commitment to protect 30% of California’s lands and water by 2030.…

Reflecting on #BlackBirdersWeek

By Melissa Ramos

 

Have you heard of #BlackBirdersWeek? This social media event took place last week and was a response to the racist treatment Black birder Christian Cooper encountered while birding in New York City. #BlackBirdersWeek inspired an avalanche of support for birders for color across the country. This online event highlighted, and made visible, the incredible, often invisible work Black birders are doing for environmental conservation and birding.

As GGBA’s Communications Manager, it was my pleasure to highlight the events of #BlackBirdersWeek through our organization’s social media platforms. I was heartened to see the positive responses, too. I am still, however, having trouble managing my tornado of feelings on the current state of racial injustice in this country. I feel flummoxed, enraged, depressed. I know I am coming up short of the words I’d like to better express myself, but here is what I know: real, positive, lasting change can come from all of us.

I also know this: we can start this change with birding. The outdoors, nature, and birds are a respite and a safe place for many of us. Everyone should have an opportunity to participate safely in the wonder of birds. The reality is, not everyone has this opportunity. Although I am a person of color myself, I am not Black; I am not policed, followed, harassed, questioned, verbally or emotionally or physically attacked, or dehumanized because of my skin color. I certainly have never experienced these horrible things while birding or in my daily life.

The dangers Black Americans face just by virtue of existing cannot be understated. That is why I felt hope and joy at #BlackBirdersWeek for highlighting these very real dangers and the realities that Black birders experience. Seeing Black birders elevate and celebrate each other is a rare thing to behold. I encourage everyone to check out National Audubon’s archive of the #BlackBirdersWeek event if you’d like to learn more about this powerful event. Perhaps the tide is finally turning toward a new era of positivity and inclusivity.

Birding should be for everyone. But it isn’t yet. We can, however, work together to ensure birding becomes a haven for each person who wants to experience the joy of nature.

I am happy GGBA is a community that stands up for civil and social justice; a community that is actively working on acquiring funds to invite economically disadvantaged birders of color into our family; a community that is addressing and fighting against environmental racism through our Strategic Plan; a community that has, for years, put children of color at the forefront of learning with our award winning Eco-Education program, and has more recently, provided free educational activities for children at home (in both English and Spanish).…

Tex Buss: Bird Artist

Tex Buss: Bird Artist

Editor’s Note: Tex Buss is one of many talented artists whose work is featured in Golden Gate Bird Alliance’s first-ever online bird art auction, which runs from May 17 through June 1, 2020. We hope you will support Tex, all of our artists, and GGBA by purchasing their beautiful work.

 

By Ilana DeBare

 

For Tex Buss, the silver lining behind the dark cloud of Covid-19 is that she’s had more time to paint birds.

Buss, a 48-year-old artist from San Francisco’s Bernal Heights neighborhood, straddles the worlds of tattoo art and traditional fine arts such as painting.

Buss is a co-owner of Authentic Tattoo on Church Street, which had to shut down with the pandemic’s shelter-in-place rules. Stuck at home, she’s spent her days home-schooling her six-year-old daughter and strategizing for how to eventually reopen the shop safely. But at night, after her daughter’s in bed, she has time to focus on bird paintings.

Tex Buss at work

“That’s the bright spot in all this,” she said.

Buss is among the 22 artists featured in Golden Gate Bird Alliance’s first Online Bird Art Auction, which runs through June 1, 2020 at goldengateauaubon.org/auction.

She is a third-generation birder: Her grandmother and parents were enthusiastic birdwatchers.

“I grew up with birdwatching,” she said. “I took a break from it for a decade and half, then came back in my 30s.”

Raised in Texas, Buss travelled the world, came to San Francisco in 1995 for a temporary “pit stop,” and ended up staying. Legally named Laura, she took on the nickname Tex when she was one of four Lauras working at the Lucky 13 bar on Market Street.

She was a tattoo artist before becoming a painter.

Tattoo by Tex Buss of a Steller’s Jay Some of Tex Buss’s birds are imaginary creations, like this one.

“I got my first tattoo as a teenager when I was a punk rocker,” she said. “I felt a lot of the arts were elitist and closed off to everyday people. Tattooing was every-person kind of work, at least back then. It was also something you can do for a living. It’s very visceral, satisfying, and energizing on a human level, since you get a lot of direct contact with people.”

Since starting as a tattoo artist 26 years ago, Buss has done literally thousands of bird tattoos. She takes pride in understanding bird anatomy and movement.…