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The bigger screen means you can really focus on areas that might be overexposed I’m usually shooting on an FX6, so with the internal NDs, I could get things exposed properly and avoid having to rescue highlights later in post.” Much of her work involves shooting at night, which presents a different problem. “On a bigger screen, using waveforms makes it so much easier to trust what you’re seeing instead of guessing exposure in the dark,” she says. “I’ve had a few night shoots recently and the Ninja RAW ended up being a really important part of my kit.” It’s also a serious recorder, as the Ninja RAW can capture up to 6K/30p RAW over HDMI, with Apple ProRes RAW, ProRes HQ and ProRes 422 recording options. Media can be recorded directly to CFexpress Type B or compatible external USB-C storage. Supported cameras can also be controlled from the Ninja, including ISO, shutter speed, aperture and white balance, with touch-to-focus available on compatible models. Power comes from NP-F batteries or USB-C power delivery. For Penman, though, the value of all that technology is what it allows her to do when things aren’t conveniently positioned at eye level. A rooftop football match in New York provided a perfect example. “I wanted to film really close to the ground, right at the level of the players and the ball,” she recalls. “Because everything was happening so low, I couldn’t see the camera screen at all from that angle.” Mounted to her gimbal arm, the Ninja RAW became her viewfinder. “The Atomos ended up being my only screen and I could tilt it into whatever position I needed. It let me shoot some great low-down moments.” It’s the sort of situation familiar to anyone who shoots unpredictable subjects. Neither animals nor footballers are inclined to stop while the camera operator finds the right menu. “The touchscreen made a massive difference for quick adjustments too, when you’re following wildlife or a sports game,” she explains. From shooting to sharing Another feature proved valuable for a very different part of Penman’s work. The Ninja RAW records the camera’s display directly to the CFexpress Type B card in the monitor. Normally you would record a clean feed, but the HDMI output settings on the camera
Beak performance Patience, timing and technical skill come together in shots that are puffin else!
Make your bird images really soar!
Remember your focal length When shooting handheld, Penman’s baseline is not to let shutter speed fall below the focal length being used. At 600mm, for example, that means at least 1/600sec for general photography but considerably faster for birds in flight. Fire a burst Don’t try to predict the perfect fraction of a second and take a single frame. Use burst mode and follow the bird through the action to give yourself a sequence to choose from. Get connected Push the camera firmly against your eye when using the viewfinder. That extra point of contact helps stabilise a heavy long lens while tracking. Alternatively, take the weight out of the equation and use a tripod. Most importantly, keep practising.
Want sharper shots of birds on the wing? Wildlife specialist Libby Penman reveals some of the techniques she relies on for great stills when the action takes off. “Bird photography is so much fun and incredibly addictive,” says Penman. “There’s always something new to learn and improve on.” Speed is everything “It’s all about high shutter speed!” says Penman. Wing beats are incredibly fast, so keep shutter speed as high as available light permits. In ideal conditions that could mean pushing towards 1/5000sec. Watch the exposure Keep an eye on the camera’s light meter as shutter speed climbs. It provides a quick indication of whether the image is drifting towards under- or overexposure and how far you can push the shutter in the available conditions.
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November/December 2026
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