Our directory of things of interest

University Directory

Geo-photographer: Xavi Bou captures the mystery of bird flight

  • Written by  Geographical
  • Published in Geophoto
Ornitography 97# Northern fulmar (Fulmarus glacialis) and Atlantic puffin (Fratercula arctica) near Vik in Iceland ‘I travelled to Iceland for the contrast between the dark volcanic rocks and the delicate lines that seabirds create when nesting in the cliffs’ Ornitography 97# Northern fulmar (Fulmarus glacialis) and Atlantic puffin (Fratercula arctica) near Vik in Iceland ‘I travelled to Iceland for the contrast between the dark volcanic rocks and the delicate lines that seabirds create when nesting in the cliffs’ Xavi Bou
14 Jan
Xavi Bou's artistic visions of flight beguile the eye

Xavi Bou had spent 15 years working as a photographer and teacher in the world of advertising and fashion before he embarked on the project that would consume much of the next ten years of his life. ‘One day, I was watching the tracks of an animal on a path and I thought to myself, “What kind of tracks would birds leave in the sky if that was possible?”’ he says.

He did some research and realised that no-one had attempted to visualise these paths before – at least not in the way that he had in mind. He didn’t want to use the technique often used in sports photography, in which a few different pictures of one ski jump, for example, are placed side by side to show the take off, the mid-point and the landing. For him, it wasn’t about how a bird flies, but rather the path the bird takes.

‘I feel like a curator, looking for the different choreographies that birds make in the sky,’ he says. ‘What I do is look for these different choreographies, choose a part and make it visible.’

The most common way to convey movement in a still image is to use a long exposure, ‘but in this case,’ says Bou, ‘because the sky is brighter than the bird, if you do a long exposure you erase the bird.’ Instead, he created a new technique that involves overlapping images. Rather than using a normal camera, he employs a cinematic camera to capture around 60 or 120 frames per second. He then uses a computer programme to overlap the images, a process that eventually shows the path of the birds through the sky.

Ornitography 34Ornitography 34: Flight of the yellow-legged gull (Larus michahellis). Image: Xavi Bou

Ornitography 62Ornitography 62. Image: Xavi Bou

For Bou, it’s all about visualising behaviour, not the birds themselves. It’s not always apparent to people viewing his images in a gallery that these are birds at all. Because of this, racking up large numbers of different species is far less important than capturing different types of movement. ‘This is something important for me,’ he says. ‘It’s not about as many species as possible, it’s more about different behaviour.’ Some birds, including starlings and swifts, demonstrate hugely complex and varied fight patterns, and Bou finds himself repeatedly returning to these animals.

Swifts might shoot across the sky erratically while hunting for insects, but at other times, they might come together as a group and fly around and around in a circle. Focusing on common birds also serves a secondary purpose. ‘Most of my work is done in Catalonia, with common birds. For me, it’s really strange that most people don’t know what a swift is. We’re talking about a bird that fills the skies – they’re everywhere. Maybe we know more about life in the Arctic or the Serengeti than in our gardens.’

Ornitography 159Ornitography 159: Unidentified passerine, Gallocanta, Spain

In this case, it wasn’t a photographer who inspired me, because no-one had done this before. I was more inspired by art. Some of the images look like Japanese calligraphy or a Pollock painting. So my inspiration comes from different painting techniques.

This isn’t a documentary project – it’s an artistic project, so the audience gives it the final purpose. If your background is poetic, you will find poetry. If your background is conservation, you will find scientific interest. It’s also about introducing people to the love of nature.

It’s okay to copy when you’re starting out, but then, find your own voice. It’s important to talk about something that’s important to you or that you can say something about. Sometimes, we try to be somebody that we are not and that is the big mistake.

Subscribe to Geographical today for just £38 a year. Our monthly print magazine is packed full of cutting-edge stories and stunning photography, perfect for anyone fascinated by the world, its landscapes, people and cultures. From climate change and the environment, to scientific developments and global health, we cover a huge range of topics that span the globe. Plus, every issue includes book recommendations, infographics, maps and more!


Related items

NEVER MISS A STORY - Follow Geographical on Social

Want to stay up to date with breaking Geographical stories? Join the thousands following us on Twitter, Facebook and Instagram and stay informed about the world.

More articles in NATURE...


Xavi Bou's artistic visions of flight beguile the eye


Hydropower is considered essential if the world is to reach…


An overlap between populations of grizzly bears and Indigenous groups…


Climate change is having a huge impact on the oceans,…


The first COP26 draft agreement has been released


Marco Magrini explores the complex issue of carbon markets –…


The youth found marching outside the COP26 conference in Glasgow…


Energy day at COP26 was all about coal. Marco Magrini…


The world is reliant on the climate models that forecast…


Geographical editor, Katie Burton, spends the day at COP26: finance…


Lawyers are using the power of the courts to challenge…


Mike Robinson, chief executive of the Royal Scottish Geographical Society…


Will China's climate pledges be enough to achieve Xi Jinping's…