Species Spotlight - Dik Dik

 

A dik-dik is a small antelope in the Genus Madoqua that lives in the bushlands of eastern and southern Africa. Dik-diks stand about 30–40 cm (12–16 in) at the shoulder, are 50–70 cm (20–28 in) long, weigh 3–6 kg (7–16 lb) and can live for up to 10 years. Dik-diks are named for the alarm calls of the females. In addition to the females' alarm call, both the male and female make a shrill, whistling sound. These calls may alert other animals to predators.

Female dik-diks are somewhat larger than males. The males have horns, which are small (about 3 in or 7.5 cm), slanted backwards and longitudinally grooved. The hair on the crown forms an upright tuft that sometimes partially conceals the short, ribbed horns of the male. The upper body is gray-brown, while the lower parts of the body, including the legs, belly, crest, and flanks, are tan. A bare black spot below the inside corner of each eye contains a preorbital gland that produces a dark, sticky secretion. Dik-diks insert grass stems and twigs into the gland to scent-mark their territories.

To prevent overheating, dik-diks have elongated snouts with bellows-like muscles through which blood is pumped. Airflow and subsequent evaporation cools this blood before it is recirculated to the body.

The dik-dik lives in shrublands and savannas of eastern Africa. Dik-diks seek habitats with plentiful supply of edible plants such as shrubs. Dik-diks may live in places as varied as dense forest or open plain, but they require good cover and not too much tall grass. They usually live in pairs in territories of about 5 hectares (12 acres). The territories are often in low, shrubby bushes (sometimes along dry, rocky streambeds) with plenty of cover. Dik-diks can blend in with their surroundings, because of their dusty colored fur. Dik-diks have a series of runways through and around the borders of their territories

Dik-diks are herbivores. Their diet mainly consists of foliage, shoots, fruit and berries, but little or no grass. They receive sufficient amounts of water from their food, making drinking unnecessary. Like all even-toed ungulates, they digest their food with the aid of micro-organisms in the their four-chambered stomachs. After initial digestion, the food is repeatedly eructated and rechewed, a process known also as rumination, or 'chewing the cud'. Dik-diks' tapering heads may help them eat the leaves between the spines on the acacia trees, and the ability to feed while still keeping their head high to detect predators.

…information supplied by Wikepedia

Species Spotlight - Bald Eagle

The Bald is a bird of prey found in North America. Its range includes most of Canada and Alaska, all of the contiguous United States, and northern Mexico. It is found near large bodies of open water with an abundant food supply and old-growth trees for nesting.

The Bald Eagle is an opportunistic feeder which consists mainly on fish, which it swoops down and snatches from the water with its talons. It builds the largest nest of any North American bird and the largest tree nests ever recorded for any animal species, up to 4 meters (13 ft) deep, 2.5 meters (8.2 ft) wide, and one metric ton (1.1 tons) in weight.

Bald Eagles are not actually bald; the name derives from an older meaning of "white headed". The adult is mainly brown with a white head and tail. The sexes are identical in plumage, but females are larger than males. The beak is large and hooked.

The Bald Eagle's natural range covers most of North America, including most of Canada, all of the continental United States, and into northern Mexico. It is the only sea eagle endemic to North America. Occupying varied habitats from the bayous of Louisiana to the Sonoran Desert and the eastern deciduous forests of Quebec, to New England, and heavy populations along the Pacific Northwest States of the USA and Provinces of Canada.

The northern birds are migratory, while southern birds are resident, remaining on their breeding territory all year. At minimum population, in the 1950s, it was largely restricted to Alaska, the Aleutian Islands, northern and eastern Canada, and Florida. Today, they are much more common (almost attaining their peak numbers pre-colonization in North America), and nest in every continental state and province in the United States and Canada.

Northern Bald Eagles will also congregate in certain locations in winter. From November until February, one to two thousand birds winter in Squamish, British Columbia, about halfway between Vancouver and Whistler. Another 5,000 to 8,000 winter in the Harrison and Fraser River area of British Columbia. This area is between Chilliwack and Harrison Hot Springs. The birds primarily gather along the BC Rivers as they are attracted by the salmon spawning in these areas.

If you would like to photograph these fantastic birds of prey during one of the most active times in their annual cycle, contact us. We run annual photography workshops during the November to January timeframe in the lower mainland of British Columbia.

Please see our next workshops here, http://www.photographers-lounge.com/canadian-workshops/bald-eagles-and-mountains

The Bald Eagle Migration in the Harrison River in British Columbia

I used to live within 20 miles of the largest migration destination of Bald Eagles in Canada... and then I moved away! What was I thinking????

From October to January, these majestic birds return to the Fraser River Basin to look for ideal nesting locations. Once found, they lay their eggs in February. It’s a pattern repeated every year, as the bald eagles follow spawning salmon along the Fraser and Harrison rivers.

Depending on the size of the salmon run, the number of eagles can be jaw dropping. The count in 2010 placed the number of eagles close to 7500 in a few kilometer stretch of the Harrison river. Talk about a photographer's playground.

I can remember when I lived there, sitting there watching eagles flying everywhere, and then to watch them interact with the bears that come down to feed on the spawn, well, that's a sight one never forgets.

I have been yearning to get back to the place I love so much... so, I set up some bald eagle workshops so I could share these incredible sights with you.

We will stay in the Fraser Valley... here you will have the best of both worlds... fantastic landscapes and one of the most beautiful birds in North America.

For these workshops I have partnered with two very talented photographers, Len Silvester and Jamie Douglas.

Len is one of Canada's premier nature and bird photographers and Jamie, another fantastic photographer that has inspired me for years... we just don't hold his Scottish accent against him (kidding Jamie)

Please consider joining us on these 4 day workshops.

To see the details, please click here... http://www.photographers-lounge.com/canadian-workshops/bald-eagles-and-mountains/

Panning PhotographyTutorial

The skill of panning photography is going to take every ounce of patience you have. Almost every person I have talked to about this type of photography has told me that it wasn’t until they saw that “one cool photo” that they had that “AHA!” moment.

I was 13 when I stumbled upon this. Yes, stumbled, sometimes ignorance is bliss, and as a 13 year old trying to freeze images with high shutter speeds, my lack of knowledge produced an image that gave me some ideas.

Back then our family had a miniature poodle named Brandy. He was a bolt of white lightening when he ran out the back yard. One afternoon I was trying to freeze the dog’s motion for photography class with little success. After a roll of film and a tired dog that was fed up with my milk bone bribery; I discovered that I could freeze part the dog yet have the background blurred. (Insert my AHA! moment here)

This latchkey kid would now have a couple hours each day to work on getting this image perfected. Dozens of film rolls, a couple boxes of dog treats, and a few extra pounds on Brandy later, I got the shot... a dog, head and body in focus, legs a little blurred, mid stride, hovering over the blurred ground... “AHA!”

So, from my personal trials and tribulations, here are a few tips I put together to hopefully take your keepers from one out of five-hundred to one out of one-hundred.
Understand the basic concept. Panning works when you move the camera in perfect synergy with the subject. It’s not enough to just swing the camera from side to side. You have to move it in perfect synch with your subject.

Choose the right subject. Generally it is easier to pan with a fast-moving subject than a slow one. Sprinters running in a straight line are moving fast enough that you can pan smoothly with their motion. People walking are almost impossible; they are too slow to get much blur and it’s difficult to pan smoothly. Football players are tough because they move erratically. And running dogs, well, they are perfect because they just want to please...

Use Manual Exposure or maybe Shutter Priority metering. Whichever you choose, the object is the same. You don’t want the shutter speed to change while you are shooting.

Focus Tracking. It’s very important that all or part of your subject is in focus. You might like to switch focus to AI Servo mode (in Canons) or AF-C mode (in Nikons). In this mode, hold down your shutter half way to lock focus on your subject and start following your subject with your camera at the same speed. You can take several shots at once… the number of photos is dependent on your camera.

Find the right background. The background must have some detail in order to produce the pleasing streaks you will want. That is why the jet is a bad subject for panning when it is up against a plain blue sky. Nothing will look as if it “moved.” On the other hand, be aware that just one person in a white T-shirt can create an unsightly white blob in your photograph.

Pick a good shutter speed. This is important. The longer the shutter speed, the higher the probability your image you wanted in focus will blur. It becomes a balancing act. As a starting point, let’s go back to the example of the sprinters running across the picture. Try anything between 1/8 of a second and 1/60 of a second. Beyond 1/8 of a second it's really tough to get sharp. Above 1/60 of a second, the camera will probably stop too much action and ruin the effect. Except for faster moving objects like flying birds or jets. For that you might need 1/250 of a second for a bird and 1/500 of a second for the jet, and that brings us to our next problem.

Practice panning smoothly. A Fluid, smooth motion is the name of the game. No jerking, no rushing and done without hesitation. Start clicking the shutter before your subjects reaches the ideal point and then keep shooting after they pass that point. Good follow through is imperative. The best panning shooters literally go out and just practice the movement.

Use the viewfinder. Your viewfinder is your friend when it comes to panning. The best tip I can give you is to set the viewfinder to show crosshairs, then focus on the intersecting line of the crosshairs and follow the subject in the viewfinder. You will eat more batteries doing it this way, but it does help with the success ratio.

Try. Evaluate. Retry. Experiment! There is no right or wrong way to produce the desired results... set rules do not apply. But try it, have fun with it, experiment with camera motion.

A couple final words on “Panning Photography”.
Things do not always have to be totally in focus. This type of photography, in addition to showing motion of an object, can be an artistic type of photography. If the intent is to produce an image of just motion through camera movement, please note that it can be referred to as motion blur photography.

Lastly, you should technically not be able to have motion in a still photograph. This is a two dimensional form of art. But the act of panning will force a person to look at the image more closely, and they will until they come to realize: "That’s not a blurry picture; that’s a young boy taking a photo of the running dog he loves in the backyard. That’s cute!"

I hope I gave you your AHA! Moment! Now go out, try this, and “pay it forward” so the next person can have their AHA! moment.

Happy Shooting!

Paris - The City of Love and Lights

The city of Paris has more familiar landmarks than any other city in the world. On your first visit you will arrive in the French capital with all sorts of expectations: cobblestone streets lined with sidewalk cafes, of intellectuals discussing weighty matters in these cafes, of romance along the Seine, naughty nightclub revues in a district called Montmarte and yes, if we are being honest with ourselves, we just might expect rude people who won’t speak English.

The truth is, if you look hard enough, you will find all of those. With an open mind you will actually discover is that Paris is enchanting, at any time of the year. It welcomes guests with open arms. I have been there six times, seen every season, met a lot of people, some which have become friends… and I came home thoroughly satisfied from each visit to the city of love and lights.

Getting to Paris: By air: Paris is served by three airports—Charles de Gaulle International Airport, Orly International Airport, and a regional airport, Beauvais. Chances are that you will be landing at Charles de Gaulle and you will need to take a €40 to €60 Euro taxi ride to your Parisian hotel.
By train: Paris is well connected to the rest of Europe by train offering high speed and normal trains such as the TER Regional trains, TGV (high-speed trains), Thalys, Intercity trains, and the Eurostar service. Getting off the train at Gade du Nord is the only experience I have taking trains. But a quick subway ride will take you right into the heart of the city.
By bus: The Eurolines company offers routes to other European cities.

Getting around Paris:Bus: The city has several hop-on hop-off bus tours specially run for tourists
By car: with dense traffic conditions, it is not a great idea to rent a car but driving may be an option if you are planning trips outside the city. Imaging this… you are driving up Av. Des Champs Elysees because you want to go to the Hugo Boss store, you miss your turn and immediately find yourself on an 8 lane roundabout that is circling the Arc de Triomphe and people are flying on and off at break neck speeds… and you get paralyzed with fear.
On foot: Walking in Paris is the best way to get around and explore the city. It is possible to cross the entire city in a span of just a few hours. For photographers it really is the only way to see the sites. Walk, admire, drink some wine, walk, admire, drink some wine, repeat…
Metro: Paris has an excellent subway train system with detailed maps of the surrounding area at each station. This would be my suggestion for travel around Paris. Look into a pass and use the Metro to get you around the city.
By boat: you can cruise along the Seine taking a circular route from the Eiffel Tower, down past the Louvre, Notre Dame, botanical gardens then back up the other bank past Musee D’Orsay.
Bicycle: You can rent a bike to explore the city. It can be much safer to cycle here than anywhere else. The government is actually planning to encourage the practice.

Where to stay in ParisThere are a few things you should consider before deciding where to stay in Paris. First, find out what area is right for you according to your visiting goals and personal tastes. Then choose accommodation based on your budget. I have stayed in hotels that are as much as €400 a night and I have stayed in flats for €100 a night. Honestly, I had a great time no matter where I stayed. Whether it was in bohemian district of Montmarte or right down on the Siene River near the La Louvre I enjoyed each visit.

The historical center of Paris is divided into 20 districts. I have put a map below for you to see what I am talking about. As you notice the city is split in the middle by the Seine River. Each of these districts is like a little village within the city with its own history, culture and way of life.

No matter where you stay in Paris, be prepared, you will walk a lot. You won’t realize it at first, but just the sheer amount of walking when inside the venues you will want to visit will be a lot. La Louvre alone can be quite a physical experience if you want to see it all (plan that over two days if you have time). Le Sacre Coeur is a 300+ stair climb to get to the top and the Notre Dame Cathedral is also a vertical hike to get up and swing from the bell like Quasi Motto did. So before you pack, think comfort or you will pay for it later.

There is accommodation for everyone in Paris, it goes from the bed & breakfast room if you want to get in touch with the locals, the cheap 2 star hotel that will be kind on your wallet, the holiday apartment for a feel at home experience or the glamorous luxury hotel if you want to treat yourself.

The Weather in ParisThe best weather in Paris is in spring (April-June) or fall (September-November), when things are easier to come by. The weather is temperate year-round. July and August are the worst for crowds. Parisians desert their city, leaving it to the tourists. Here are some quick facts:
The months June, July, August and September have a nice average temperature.
On average, the warmest month is July.
On average, the coolest month is December.
May is the wettest month.
February is the driest month.

I have been there in every season and found, as a photographer, there is no bad time to go. However, my favorite visits have been in September and March. You will get pleasing fall and spring weather and miss the majority of tourists. Regardless of what the weather is, if you are prepared, you will not have a bad day when you are in Paris.

OK, now that we have looked at the necessary details about the city, let’s get to the good stuff! Capturing a few of my favorite parts of the city in photos!

I have to say this, “Be prepared to wait your turn if you are doing the day time stroll with the camera around your neck.”

There are more photographers per square mile in this city during peak tourist times than I have seen anywhere else in the world. I have seen this happen all the time… a bus of tourists pulling up to the glass pyramid at Le Louvre, 100 people fall out of the bus and descend on the landmark like bees to a honey pot. It’s rather humorous.

My advice for the more seasoned photographer… go off hours. Apply the same photography principles here as you would at home. Shoot landmarks from 30 minutes before sunrise to ninety minutes after sunrise. Or, go at night and shoot ninety minutes before sunset to 30 minutes after sunset. Night photography is also amazing in this city. Some of my favorite photos have been taken at night when I have been to Paris.

The Eiffel Tower If you are taking photos to sell you should investigate the legalities of selling images or any French landmark, especially of the Eiffel tower at night. There has been much discussion surrounding this topic I would look into this before you attempt to sell anything. If it’s just for personal enjoyment and posting it on your website or sharing with your friends, you are fine.

You couldn't possibly visit Paris without seeing the Eiffel Tower. Even if you do not want to visit this world famous structure, you will see it from all over Paris. The tower rises 300 meters tall (984 ft); when it was completed at the end of the 19th century it was twice as high as the Washington Monument.

The cost to go to the top is approx €15, but its well worth the price to get some fantastic views of the city. Take up your wide angle lens for some breathtaking images and take a telephoto lens to get some different viewpoints of some of the local churches and structures.

The Catacombs The Paris Catacombs are a maze of tunnels and crypts underneath the city streets where Parisians placed the bones of their dead for almost 30 years. Prior to the creation of the Catacombs in the mid-1700s, residents buried their dead in cemeteries near churches as is still customary in most places.

But as the city grew, the cemeteries quickly ran out of space. Additionally, improper burial techniques often led to ground water and land near cemeteries becoming contaminated and spreading disease to those living nearby, so city officials moved to condemn all the cemeteries within city limits and move the bodies in those cemeteries elsewhere.

The decision was made to use an underground section of quarries in Paris, and the bones from Paris’ city cemeteries were moved underground between 1786 and 1788. The process was conducted with reverence and discretion – the quarry space was blessed before any bones were moved there, bones were always moved in a quiet parade of carts accompanied by priests, and these movements always took place at night. The quarries continued to be used as the collection point for the bones from Paris’ cemeteries through 1814 and now contain the bodies of roughly 6-7 million Parisians.

To get there by METRO the nearest stop which is Denfert Rochereau (either on line 4 or 6) in zone 1. Be aware before you enter that there is no flash photography allowed in the site, so to get any decent photos you either need to be able to hold a camera in dim light and shoot in a high ISO setting, or use a tripod and long exposure times, which is exactly what I did.

The staff is really helpful in shining torches at the skulls for you so that you could see in better detail but really, as much as they are just trying to help, this is more a hindrance and annoyance when you’re taking photos. I’d recommend a tripod and your own flashlight as that seemed acceptable to the staff, it also seems acceptable to be able to touch the remains as some people even pick up the bones and photograph themselves holding the remains (not my cup of tea personally).

The cost to get in is approximately €8, but well worth the price.

Le Louvre and Musee d’Orsay Le Louvre is housed in the Louvre Palace (Palais du Louvre) which began as a fortress built in the late 12th century under Philip II. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of antique sculpture.

In 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum, to display the nation's masterpieces.

Imagine… almost 35,000 pieces of art in one location; historically significant paintings, sculptures that stood proud thousands of years ago, and priceless artifacts you have only read about in a book. Many are right there for you to see, and photograph! YES, you too can walk home with a photo of “Whistler’s Mother” or “Mona Lisa” for €10 to €15.

 

A word of caution, keep the flash in the bag and do not bring out the tripod… They have signs that tell you that your flash will degrade the art… so not wanting to be the person that ruins a $1Million artifact, I always choose to handhold with high ISO.

I suggest you walk the museum with the camera set on 400 ISO or higher, f/2.8 and brace my camera on a folded coat to help eliminate handshake. Regardless how you do it, you will walk away with a lot of fantastic images for your own personal enjoyment.

Click here to see an interactive floor plan of Le Louvre. This will walk you through where art is located and give you a better idea of the sheer size of the building.

Musee d’Orsay The history of the museum is quite unusual. In the centre of Paris on the banks of the Seine, opposite the Tuileries Gardens, the museum was installed in the former Orsay railway station, built for the Universal Exhibition of 1900. So the building itself could be seen as the first "work of art" in the Musee d'Orsay, which displays collections of art from the period 1848 to 1914. For €8 you can spend as much time as you want admiring timeless pieces of art.

For those of you that appreciate the history of photography. There is a photography exhibit that shows photos as far back as the early 1800’s

The museum is not as large as Le Louvre but I found it just as inspiring as Le Louvre. The same rules apply for photographers, keep the flash in the bag and do not bring out the tripod… you are forced to handhold with high ISO. I have however seen a few people with monopods sneaking in a few photos here and there.

The rest of ParisThere is so much more to see and photograph. I could write and show photos for hours. These are just a few of my favorite locations. What I suggest, look at photos on flickr and go to the Parisian city website. There is an abundance of available information for anyone wishing to visit the city.

From fantastic graveyards, one in particular with the grave of Jim Morrison, the Sacre Ceour, Arc de Triomphe, the Oblisque, Notre Dame, and many, many more places. Your photographic opportunities are endless. Do some research, talk to people that have been there, and just go and enjoy yourself.

If you have any questions about Paris, please feel free to contact me through www.photographerslounge.ca I have visited the city 6 times in the last ten years… and someday soon, will be back again walking the streets of Paris with my camera draped over my shoulder.

Join me on my next Parisian Workshops

Week One with Deborah Sandidge

Week Two with Denise Ippolito


Happy Shooting,

Kev

Photography Gear to take for an African Safari

 

My first workshop in eastern Africa with Journey to Africa is in the books and I wanted to write a follow up article about what gear to bring having spent almost two weeks in the Serengeti and Ngorongoro Crater Conservation Area.

For my last workshop I packed up everything but the kitchen sink and brought almost the entire camera gear cabinet just to see what I would use, and not use. Surprisingly, I didn’t get a chance to use most of the gear that I brought with me.

So…. Here are my suggestions for gear to bring with you on a safari…

Two camera bodies… I brought a Nikon D7000 crop sensor camera and Nikon D600 full frame camera bodies. The D7000 crop sensor had the 150-500mm lens on the body the whole time and the full frame camera had both the wide angle and the 70-200mm lens on it depending on what I was photographing.

I attached a battery grip for D7000 for extended battery life and to give me an extra frame per second. It also eliminates the need to open your camera up when you are out in the field. Even close to the rainy season it can get dusty when out on safari.

I brought 6 Nikon EN EL15 batteries, 3 for each camera. Sometimes you will have power and other times the lodges conserve power and you may not get a chance to fully charge your batteries. Having extra battery power will ensure you have at least two days of shooting power.

Bring two battery chargers, a small power bar and international power converter. A power bar will allow you to charge two batteries and still be able to work and edit on your laptop. At some lodges, Ndutu for example, there are central charging areas where everyone plugs in the batteries to charge… so mark your batteries as I have seen these central charging areas packed with laptops, and battery chargers before bedtime.

You will easily go through 16gig of memory a day. You are constantly shooting animals and landscapes. I brought 6 - 16gig Sandisk Extreme PRO memory cards and 6 - 8gig Sandisk Extreme PRO memory cards. It offered redundancy and gave me enough memory if I needed it. Expect to take between 800 to 1200 photos a day while on safari. It may sound like a lot, but when you are shooting moving animals you can easy take 20 to 30 images in a few minutes.

Laptop and an external hard drive will give you two copies of your images… save one to your laptop and one to your external drive to ensure you have a backup.

Bring a tripod. I brought a Monfrotto 290 series tripod with pano head. (When travelling I put into my duffle bag that was checked)

Apex mini bean bag is a must. It stabilizes your camera on top of the vehicle when you are looking out the hatch. Some guides will have small homemade bean bags… a life saver for those that come that are not prepared.

External flash and flash extender. While there are minimal opportunities to shoot at night, having that flash illuminates animals in shade and will give you the reach you need to take better exposed photos when animals are not sitting in optimal light.

Bring camera straps for your camera. I brought black rapid camera straps for both my bodies.

Make sure you bring wired or remote control for cameras as there is fantastic opportunities for low light photography.

It is always a good idea to bring rain cover for my camera and lenses
 

Bring a wide angle lens, a medium length lens and a longer telephoto lens. I brought the following:
Sigma 12-24mm f4.5-5.6 for landscape photos - used extensively
Sigma 24-70mm f2.8 for walking around and landscape photos - rarely used
Sigma 70-200 f2.8 for close animals and portrait photos - used extensively
Sigma 150-500 f5.6-6.3 for the safari drives - used extensively

How to travel with your gear... I have both a roller bag and a large back pack. Both would work fine. The roller bag makes travelling easier and the back pack is easier when out on safari.

I hope that helps you in making your gear suggestions for your trip of a lifetime to Africa… or any other global destination.

Please check out my workshops at www.photographerslounge.net

Species Spotlight - Kori Bustard

Kori Bustard in the middle of a mating call.

The Kori Bustard is cryptically colored, being mostly grey and brown in color, finely patterned with black and white coloring. The ventral plumage is more boldly colored, with white, black and buff. The crest on its head is blackish in coloration, with less black on the female's crest. A black collar at the base of the hind-neck extends onto the sides of the breast. The feathers around the neck are loose, giving the appearance of a thick neck. The belly is white and the tail has broad bands of brownish-gray and white coloration. The head is large and the yellow legs are relatively long. Females are similar in plumage but are much smaller, often weighing 2-3 times less than the male. The juvenile is similar in appearance to the female, but are browner with more spotting on the mantle.

The male Kori Bustard is 120 to 150 cm (3.9 to 4.9 ft), stands 71–120 cm (2.33–3.9 ft) tall and have a wingspan about 230 to 275 cm (7.5 to 9.02 ft). On average, male birds weigh between 10.9–16 kg (24–35 lb), averaging 13.5 kg (30 lb) but exceptional birds may weigh up to 20 kg (44 lb). Reports of outsized specimens weighing 23 kg (51 lb), 34 kg (75 lb) and even 40 kg (88 lb) have been reported, but none of these giant sizes have been verified and some may be from unreliable sources. Among bustards, only male Great Bustards achieve similarly high weights, making the male Kori and Great not only the two largest bustards, but also arguably the heaviest living flying animals. The female Kori Bustard weighs an average of 4.8 to 6.1 kg (11 to 13 lb), with a range of 4.3 to 6.6 kg (9.5 to 15 lb). Female length is from 80 to 120 cm (2.6 to 3.9 ft) and they usually stand less than 60 cm (2.0 ft) tall and have a wingspan of less than 220 cm (7.2 ft). The wing chord can measure from 58.5 to 83 cm (23.0 to 33 in), the tail measures from 30–45 cm (12–18 in), the culmen from 7 to 12.5 cm (2.8 to 4.9 in) and the tarsus from 16 to 24.5 cm (6.3 to 9.6 in). Body size is generally greater in the populations of southern Africa and body mass can vary based upon rain conditions.

Behavior

Kori Bustards spend most of their time on the ground, though can forage occasionally in low bushes and trees. Being a large and heavy bird, it avoids flying if possible. This bustard is a watchful and wary bird. Their behavior varies however, and they are usually very shy, running or crouching at the first sign of danger; at other times they can be completely fearless of humans. This large bird has a loud, booming mating call which is often uttered just before dawn and can be heard from far away. Locally, they are regularly found with bee-eaters riding on their backs as they stride through the grass. The bee-eaters make the most of their walking perch by hawking insects from the bustard's back that are disturbed by

The male's mating call a deep, resonant woum-woum-woum-woum (Ginn et al. 1989) or oom-oom-oom (Sinclair & Ryan 2003) or wum, wum, wum, wum, wummm . This call ends with the bill snapping which is only audible at close range. They also utter a ca-caa-ca, repeated several times for up to 10 minutes. This call carries long distances. Outside of the breeding display, Kori Bustards are often silent. A high alarm call, generally uttered by females, is sometimes heard. They utter a deep vum on takeoff.

Information from Wikipedia