Photographing Birds in Flight with the Nikon Z8 and 180-600mm: My Field Settings and Techniques
By Alan Young | Alan Young Photography
Photographing birds in flight is one of the more challenging and rewarding aspects of wildlife photography. Whether it's a kingfisher travelling low over the water, a gannet soaring along the cliffs or a bird of prey circling overhead, each presents a different combination of speed, movement, distance and lighting.
The Nikon Z8, paired with the NIKKOR Z 180-600mm f/5.6-6.3 VR, is a capable combination for this type of photography. Its autofocus system, high-resolution sensor and flexible telephoto zoom provide plenty of opportunities, but successful results still depend on technique, anticipation and understanding the behaviour of the subject.
Over time, I've developed an approach that works for the way I photograph British birds and wildlife. I don't rely on a single autofocus mode or set of exposure settings. Instead, I adapt them to the bird, the conditions and the location.
In this article, I'll explain the settings and techniques I use, including one of the simplest lessons I've learnt: sometimes finding the bird in the viewfinder is harder than keeping it in focus.
1. Why I Use the Nikon Z8 and 180-600mm
The 180-600mm offers a useful balance between reach and flexibility.
At 600mm, it provides the magnification needed for smaller or more distant birds, while the shorter end of the zoom range makes locating and following moving subjects considerably easier.
One of its greatest practical advantages is the internal zoom mechanism. The lens doesn't extend when changing focal length, so its overall length remains constant. This makes it more manageable when tracking a bird and adjusting the zoom at the same time.
The Z8 complements the lens with its sophisticated autofocus system, dedicated bird subject detection and blackout-free electronic viewfinder.
There are compromises, of course. At the long end, the maximum aperture is f/6.3, which becomes a consideration when trying to maintain very fast shutter speeds in poor light. The lens is also substantial enough that prolonged handheld photography can become tiring.
Nevertheless, its versatility makes it a useful lens for the varied conditions encountered in British wildlife photography.
2. Finding the Bird Before Finding Focus
One of the biggest challenges I encounter when photographing birds in flight isn't necessarily autofocus performance. It's finding the bird in the viewfinder in the first place.
At 600mm, the field of view is relatively narrow. If a bird suddenly appears or changes direction, locating it through the viewfinder can be surprisingly difficult.
My solution is simple: I zoom out.
Starting at a shorter focal length gives me a much wider view of the scene. I can locate the bird, establish its direction of travel and bring it into the viewfinder more easily.
Once I've acquired the subject, I progressively zoom in while maintaining my tracking.
This is where the 180-600mm's internal zoom is particularly useful. I can adjust the focal length without the lens extending or substantially changing its balance.
There is no benefit in having 600mm available if the bird has disappeared before I've managed to frame it.
My approach is to acquire the bird first, then increase the focal length as the opportunity develops.
It's a straightforward technique, but one that can make a considerable difference in the field.
3. Choosing the Right Autofocus Mode
The Nikon Z8 offers several autofocus-area modes suitable for birds in flight, including 3D-tracking, Wide-area AF (L) and the custom Wide-area AF options.
I use a combination of these rather than expecting one mode to work in every situation.
3D-Tracking
When a bird is reasonably close and the light is good, 3D-tracking is often my preferred choice.
With AF-C and bird subject detection enabled, the camera can identify and follow a moving bird as it travels across the frame.
When the subject is sufficiently prominent and the camera recognises it reliably, this can be very effective.
However, distant birds, poor contrast and difficult lighting can make initial acquisition less dependable.
Wide-area AF (L)
Wide-area AF (L) provides a defined focusing area that can be useful when 3D-tracking isn't giving me the results I want.
By keeping the selected area over the bird, I can exercise more control over where the camera looks for focus.
This can be particularly helpful when dealing with smaller subjects or backgrounds that might otherwise distract the autofocus system.
Custom Wide-area AF
I also use the Z8's custom Wide-area AF settings.
These allow the size and shape of the focusing area to be tailored to the situation.
A larger area can provide more room for a moving subject, while a smaller or differently shaped area may be preferable when I need greater control over the surrounding background.
There isn't one perfect autofocus-area setting for every bird.
The important thing is knowing when to change modes rather than persisting with one that isn't working.
4. My Exposure Settings: Manual with Auto ISO
For birds in flight, I always use Manual exposure mode with Auto ISO.
This gives me direct control over the two settings that matter most to me: shutter speed and aperture.
The camera then adjusts ISO according to the metered light.
I generally shoot with the lens wide open, particularly at 600mm where the maximum aperture is f/6.3.
If the light is exceptionally good, I may stop down to f/8, but I won't sacrifice an important shutter speed simply to achieve a smaller aperture.
My preference is to keep ISO below 6400 whenever possible.
However, this is a working preference rather than an absolute limit. A slightly noisy but sharp photograph of an exceptional moment is often preferable to a cleaner image affected by motion blur.
My Typical Starting Settings
Subject | Shutter speed | Aperture |
Kingfishers in rapid flight | 1/4000–1/8000 sec | Usually f/6.3 |
Raptors in flight | 1/2000–1/5000 sec | Usually f/6.3 |
Gannets in flight | 1/2000–1/5000 sec | Usually f/6.3 |
These are my preferred working ranges, not fixed rules.
The movement of the bird is just as important as the species. A gannet gliding steadily along the cliffs presents a different challenge from one diving into the sea. Similarly, a hovering kestrel behaves very differently from a peregrine travelling at speed.
When shooting in Manual exposure mode with Auto ISO, it's important to keep an eye on exposure compensation and the histogram. Exposure compensation influences the ISO selected by the camera, within the configured Auto ISO limits.
As a bird moves from a dark background to a bright sky, the camera's metering can change significantly, potentially affecting the exposure of the subject.
Monitoring the histogram and applying exposure compensation when necessary helps maintain a more consistent result.
Auto ISO is extremely useful, but it doesn't remove the need to watch the exposure.
5. Photographing Kingfishers: Speed Matters
Kingfishers present a particular challenge because of their small size, rapid movement and unpredictable changes of direction.
When photographing them in flight, I aim for shutter speeds between 1/4000 and 1/8000 second, depending on the light and the behaviour I'm trying to capture.
At these speeds, the objective is to minimise movement blur and preserve fine feather detail.
Naturally, there are compromises.
At f/6.3 and 1/8000 second, even good daylight can require a relatively high ISO.
This is one reason I prefer working in favourable light when attempting particularly demanding flight photographs.
Anticipating the bird's behaviour is equally important.
Observing where a kingfisher perches, how it approaches the water and whether it repeatedly uses a particular flight path can help me prepare before the action begins.
Rather than reacting to every movement, I try to anticipate where the bird is likely to appear.
No autofocus system can compensate entirely for being unprepared.
6. Raptors and Gannets: A Different Approach
Larger birds generally allow me to work with somewhat slower shutter speeds.
For raptors and gannets, my usual starting range is approximately 1/2000 to 1/5000 second.
These birds can be easier to acquire in the viewfinder because of their size, although their behaviour still presents challenges.
A soaring bird of prey may move relatively predictably, allowing time to establish focus and refine the composition.
A gannet travelling along a cliff face may offer similar opportunities, particularly when its flight path is influenced by the wind.
However, both can accelerate or change direction suddenly.
Gannets are particularly interesting because their behaviour varies considerably between soaring, banking and diving.
I adjust the shutter speed accordingly, rather than assuming every photograph requires the fastest possible setting.
7. Handheld, Tripod Gimbal or Monopod?
My choice of support depends largely on where I'm photographing and how much movement I expect.
Handheld Photography
When I'm out and about, I generally photograph handheld.
This provides maximum freedom to respond to unexpected opportunities, particularly when birds appear suddenly or move across a wide area.
It also allows me to change position quickly.
The disadvantage is fatigue. The Z8 and 180-600mm are not a particularly lightweight combination, especially during extended periods of observation.
Good handling technique and sensible breaks become important.
Wimberley Gimbal in a Hide
When photographing from a hide, I use a Wimberley gimbal mounted on a tripod.
This provides a stable platform and allows the lens to move smoothly when properly balanced.
It's particularly useful when I expect to remain in one position for an extended period.
With the weight supported, I can concentrate on watching the birds and preparing for opportunities rather than continually holding the camera and lens.
Wimberley Monopod Gimbal on Reserves
When visiting nature reserves, I often prefer a Wimberley monopod gimbal arrangement.
This offers a useful compromise between portability and support.
It reduces the burden of carrying and holding a long lens while remaining easier to move around with than a full tripod setup.
Each arrangement has its advantages and limitations. The important thing is choosing the one that best suits the location and the type of photography I expect to undertake.
8. Light, Backgrounds and Exposure
Good light makes an enormous difference to birds-in-flight photography.
It allows faster shutter speeds without pushing ISO unnecessarily high and can reveal feather detail, colour and texture.
However, the direction of the light matters just as much as its intensity.
Side lighting can reveal texture and shape, while strong backlighting may create dramatic silhouettes but make detail more difficult to retain.
Backgrounds are another important consideration.
A bird against a clear sky can be relatively easy for the autofocus system to identify, but the resulting photograph may lack context.
Vegetation, distant trees or water can produce a more interesting image, although these backgrounds may also make autofocus acquisition more challenging.
I try to balance technical sharpness with composition and atmosphere.
After all, a perfectly focused bird isn't automatically a compelling photograph.
9. Processing Birds-in-Flight Photographs
Capturing the image is only part of the process.
Birds photographed in flight often require cropping, particularly when I've deliberately left additional space around the subject to make tracking easier.
The Z8's 45.7-megapixel sensor provides useful flexibility here, although heavy cropping inevitably reduces the number of pixels available for the final image.
I prefer natural processing that preserves the bird's appearance and the atmosphere of the original scene.
Noise reduction can be particularly helpful when fast shutter speeds have required higher ISO settings.
I use DxO PureRAW as part of my photographic workflow, and its noise reduction capabilities can help produce cleaner files while retaining useful detail.
However, processing has its limits.
Noise reduction cannot restore detail that was never recorded because of inaccurate focus or excessive subject movement.
For me, the priority remains getting the photograph right in the camera, then using processing to refine the result rather than fundamentally change it.
10. Fieldcraft Is Still More Important Than Technology
Modern cameras have made birds-in-flight photography more accessible, but they haven't removed the importance of understanding wildlife.
Learning how a species behaves can improve the chances of capturing a successful photograph.
Kingfishers may repeatedly use favoured perches and feeding areas. Gannets respond to wind conditions around their colonies, while birds of prey may use rising air currents to gain height.
Recognising these patterns helps me anticipate movement rather than simply react to it.
Patience is equally important.
Sometimes the best approach is to observe, understand the conditions and wait for the right opportunity.
I also believe the welfare of the bird must always come first. No photograph justifies disturbing nesting birds, repeatedly approaching sensitive wildlife or altering natural behaviour simply to obtain a better image.
Final Thoughts
Photographing birds in flight with the Nikon Z8 and 180-600mm is a combination of equipment, technique, observation and experience.
The camera's autofocus system is extremely capable, but I still need to choose the appropriate AF area, manage exposure and anticipate what the bird is likely to do.
For me, some of the most useful lessons have been surprisingly simple.
Zooming out to find a bird before increasing the focal length, adapting shutter speed to the species and choosing the right support for the location can all make a meaningful difference.
Above all, I've learnt not to become too preoccupied with the technical settings.
They're important, certainly, but the real satisfaction comes from observing wildlife and capturing a moment that reflects its natural behaviour.
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Alan Young Photography
British Wildlife | Bird Photography | Macro | Nikon Z8 Guides
Excellent review and clear explanation of the techniques. Beautiful photos too