Persistence, Passion, and Optics:
Lessons from Bird Photographer Chiara Talia


Meet Chiara Talia: a self-taught bird photographer and teacher who turned her love for birds into a thriving career. From a chance encounter with a European robin to becoming a Kowa ambassador, Chiara’s story is one of resilience, passion, and purpose. In this exclusive interview, she shares how birds helped her through a dark time, why ethical photography matters, and how Kowa optics transformed her birdwatching and photography journey.

Could you briefly introduce yourself?

Hey bird lovers! I am Chiara, a bird photographer and teacher, originally from Italy. Starting from zero, I taught myself photography and developed a passion for birds, which helped me through a dark period in my life. Now, with a great online community, I empower beginner and intermediate photographers to take meaningful photos and embrace their creativity. For me, photography is about seeing the world with fresh eyes, fostering connection, and promoting conservation. I also have a scientific background in Veterinary Medicine and Wildlife Conservation, which has shaped my deep respect for nature and my commitment to ethical wildlife photography.

Chiara "in her natural habitat", taking photos of birds

What has been the turning point for you to start birding?


My first encounter with birds was serendipitous to say the least! In January 2020, by absolute chance, while walking in a city park, I took a photo of a European robin. I had never paid attention to birds before that, and then all of a sudden, all I could see were birds everywhere. I remember asking myself “How is it possible that I missed all of this?”. I remember coming back home and starting reading about birds, and the more I was reading the more a new world was unfolding. I was hooked! And without even realising very quickly I became a birdwatcher and photographer. I started investing all my free time walking outdoors to find birds and learning about them by reading and studying. What made this even more special is that I found birds in a very dark period of my life, when I was struggling with severe anxiety. I think that was meant to be. Birds gave me joy and hope in a way I hadn’t felt for a very long time, and that first robin became for me a symbol of courage and strength throughout my recovery journey.

How has this passion evolved over the years?


My passion was born in the blink of an eye and it was very strong from the beginning. Actually, I never had something I was so passionate about in my whole life. I started with walks in city parks - at that point even just birdwatching in the backyard meant I was getting lifers very easily :) (fun times!). Then I started to explore new places like nature reserves a bit further away because I wanted to see more birds. I always had my camera with me, so my birdwatching and bird photography journey went hand in hand. And then here I was, organising my holidays to visit birding hotspots! Something I also started doing about one year after I started birding and photography was to open an Instagram account to share my “bird adventures”. I did it because the joy I felt through birding was too much to keep it only for myself and I wanted to share with others. I didn’t know that small Instagram page could then become a key part of my life. I started creating content, and sharing tips about bird photography for beginners. And at a point I thought… “Could this become my job?”. A few years later, that’s exactly what happened 🙂


Northern gannet: visiting a Northern gannet colony in Germany I got an intimate and intense portrait of this striking bird

What is your creative process when planning a bird photography session?


I am a planner - and I think planning is a key part of bird photography to increase success rate. I tend to work mostly with locations that are really close to me. Those are the places I know really well thanks to multiple (really multiple!) visits carried out throughout years. In that way it is possible to really know about the birds living there, who they are, what they do and when, and also know exactly where to be, taking into account environmental conditions like the weather. What guides me into the decision is normally the season and weather. For example, there are some places where I go only during spring for example. Or if I know there will be a clear sunrise I know which are the locations where I will be able to get nice silhouette shots. Before going out, I also check recent bird sightings - it is always good to know whether there is something special around or what can be reasonably expected. However I also have really “unplanned” sessions - I just go where I feel like going on that day without much thought. I think it is really important to keep casual sessions too. Something else I do also very often which might sound counterintuitive for a photographer is to go out without my camera (and only binoculars)! Taking time to just be in nature and observe birds without the “pressure” of producing something like a photo is very important to be reminded it is not about getting a result, it is about just “being in nature”.

How do you manage to maintain ethical standards while getting close to birds for your shots?


I do my best to maintain ethical standards in everything I do as a photographer. This is very dear to me as I have a background in Veterinary Medicine and Wildlife Conservation so animal welfare comes first. By studying birds and spending time outdoors, I learnt about bird behaviour - which is the key to be able to understand if our presence or actions are stressing the animal. I know how much / how and when to get close, and more importantly I know when it is time to stop or go away, also knowing there are some very sensitive periods in a bird’s life such as the breeding season. On a general level, actually getting really close is not something I try to achieve really often. One of the first things I realised during my bird photography journey is that the bird doesn't necessarily have to fill the frame to have a nice bird photo. I work a lot with photos in which the bird is pretty small (and far away from me) to include habitat elements. I feel those photos are more unique, they require more creative input from my side and they definitely don’t impact the bird at all. And I try to encourage all my students to experiment with these photos too. I also use the “precautionary principle” - if there is something for which the effect on birds is not really clear based on scientific research, I prefer not doing it at all. I don’t feed birds, I don’t use calls and artificial lights. Of course, ethics also means respecting the habitat and following the laws and local regulations.

How do you balance your dual roles as a bird photographer and a photography teacher?


Good one! This is something I struggled with especially at the beginning - I found myself investing more time in teaching at the expense of photography. And I started to miss photography a lot! So I learnt to prioritize “photography time” - I literally schedule in my calendar sessions where I go just to photograph, without thinking about anything else. Something that also helped with this was starting to experiment with new techniques that are not really “popular” - that’s my time to practice and learn, without the pressure to share it with others.

What has been your most challenging photography experience in the wild, and what did you learn from it?


Wildlife photography has many challenges, from finding wildlife to being outdoors in sometimes rough conditions. One of my most challenging wildlife photography experiences was my search for the Southern Cassowary in Far North Queensland, Australia. This iconic bird (it is really a dinosaur!) plays a crucial role in rainforest ecosystems, and I was determined to see and photograph it. It was a once-in-a-lifetime trip… I had planned a whole week in the region, but despite spending several days walking through the tropical forest in the intense Australian summer, I couldn’t find it—just traces like droppings. When the last day arrived, I was feeling tired and disappointed. Originally I had planned to relax with a boat trip for the last day, but something told me to give it one last try in a different location, so I canceled the boat trip and went for it. And just as I was arriving, I finally saw a cassowary! It was an incredible moment, and I even spotted more individuals afterward. Later that day, I caught my flight back, feeling happy and grateful. This experience taught me the value of persistence. Sometimes, when you’re about to give up, pushing a little further can lead to amazing results. Nature is just unpredictable!

Can you share a particularly memorable encounter with a bird that left a lasting impression on you?


One of the encounters I will remember forever was visiting a seabird colony for the first time during the breeding season. I can still hear the calls of thousands of birds in my head, and by getting closer here they were: Northern gannets. I find these birds extremely fascinating, and some of my most memorable moments were with them.

Black-headed gull calmly floating in a cold winter morning in a city park in Belgium

Many photographers struggle with gear in the field. Can you tell us how Kowa’s equipment has simplified or improved your workflow?


I think every photographer should invest in birdwatching optics - it is something I wished I did earlier in my journey! As I mentioned also earlier on, observation and learning about your subjects is a critical part to determine success in bird photography. And the typical bird photography camera and lens are not made for that because of their weight and bulkiness. The only piece of gear I use literally all the time is my binoculars! If I go out for a photography session, I always start just with my binoculars. I look around to check what’s there and where the birds are. In that way I can decide what the best position for photography is and how to best approach the birds. Binoculars are also my best friends when I am not actively in a photography session. For example when the light is too harsh for photography, I would normally repack my photography gear and keep walking only with my binoculars. That time is really precious to learn more about birds and the location. This makes me able to have even better chances for the next session!

What advice would you give to beginners who feel overwhelmed by the technical aspects of wildlife photography?


If we look at the mountain in front of us, it is very easy to feel overwhelmed and listen to that voice telling us we will never get to the top. But every hike starts with a first step. My advice is to break down “wildlife photography” into smaller, actionable steps. It is impossible to have a whole camera figured out in one day, especially nowadays that they became amazing pieces of technology. It takes time and practice. Also I don’t think it is actually necessary to really know everything about your camera and every single menu item, unless you’re really a gear-person. The key is to master the settings and features that really matter and make a difference for bird photography. Remember that at the end of the day photography gear is just a tool in your hands. The technical side of photography is only part of it - and I would say not the funniest part of it ;)

A little owl after sunset. This individual lives in an abandoned farmhouse on the other side of the road from the house I grew up in Italy.

What equipment do you use?


I shoot with a Canon R5 with the Canon RF 100-500mm. I love the flexibility of this combination. Although I shoot handheld 95% of the time, I also have a tripod with a gimbal head for specific scenarios. My binoculars are the BDII-XD 8x42. I also use the TSN-66 PROMINAR spotting scope with the Smartoscope adapter.

What are your goals for 2025?


My goal for 2025 is to clean and re-organize my whole photo archive - one couldn’t imagine how many photos I took in only 5 years of activity! Also, as I am moving back to Italy (where I am originally from), I look forward to working on photography projects with local species, to support conservation efforts.

Atlantic puffins interacting with each other on a remote cliff in Shetland Islands (UK) / Southern cassowary photographed in Far North Queensland, Australia. This is one of the largest birds in the world

Lastly, for aspiring bird photographers, why would you recommend investing in Kowa optics, and what impact has it had on your photography journey?


I had other optics before, and the difference is just… immense. I clearly remember the first time I looked through my Kowa binoculars and thinking “Oh so this is the view you can get with great binoculars!!!”. The image is clear, bright and colourful. And I also love the build quality and finish, especially the grip. And the neck strap (wide and padded) is super comfortable. The TSN-66 PROMINAR spotting scope on the other hand has unlocked birding in places that were not “within reach” for me before. There is this great birding hotspot, pretty close to where I live, which however is large and fenced. Birds tend to be really far away most of the time. I still visited it really often during the past years because it is a great place anyway but I knew I was missing so much without a suitable scope. Thanks to the scope I could now fully appreciate the amazing birdlife of this place! I also brought the scope during some of my trips - and once again I was very grateful to have the opportunity to “reach” birds I would have otherwise totally missed. Kowa optics have definitely made me a happier photographer and birdwatcher! :)

Enjoying views of thousands of Common cranes wintering in France with the TSN-66 PROMINAR spotting scope / Using the BDII-XD 8x42 to scan the surroundings

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