Outdoor photographer september 2014 usa

er outdoo hot

September 2014 Scenic Travel Wildlife Sports Vol. 30 No. 8

CO

NTEN

TS

42 58

42 BEST OF ASSIGNMENTS The best of the Assignments submissions from

outdoorphotographer.com

46 THE PURPOSEFUL PHOTOGRAPHEREvery time Andy Biggs presses the shutter button, he’s thinking

about creating an image that conveys these impressions: remote,

timeless, hopeful, uplifting and regal. These adjectives form the

core of his approach to photography.By William Sawalich / Photography By Andy Biggs

OP & THE ENVIRONMENT

64 SEEING SCIENCEFrans Lanting transforms scenes of scientifi c discovery

into moments of understanding and art By Amy Gulick / Photography By Frans Lanting

TRAVEL

104 SOUTH GEORGIASeize the moment for great photos in

extreme environmentsBy Ted Cheeseman

Photography By Hugh Rose

52 PHOTOGRAPHING THE MILKY WAYHow to shoot the nighttime summer skies with

dramatic, sharp, awe-inspiring resultsText & Photography By Glenn Randall

58 LIGHTING NATUREUse a little fl ash, an LED or even a fl ashlight to

add dimension and interest to a nature photographText & Photography By Charlie Borland

78 SHOOTING THE CURLHow Stan Moniz creates supersharp,

hyper-colorful wave photographsBy William Sawalich / Photography By Stan Moniz

[ F E A T U R E S ] [ H O W - T O ]

46

More On Next Page �

58

Check out our website @ outdoorphotographer.com

18

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72 GET READY FOR PRIME TIMEYou can get improved speed, sharpness and a compact size

in prime lenses, but what do you give up? We look at the

pros and cons of single-focal-length lenses. By The Editors

82 SHOOTING FROM ABOVEIn this installment of our occasional series on aerial drone

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94 GADGET BAG: SUPER-SPEED HARD DRIVESEdit your video footage without any hiccups using quick

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Outdoor Photographer (ISSN: 0890-5304)—Vol. 30 No. 8—is published monthly except bimonthly Jan./Feb. by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Periodicals Postage Paid at Los Angeles, Calif., and additional mailing offices. Single copy price—$5.99. Annual subscription in U.S., Possessions, APO/FPO—$23.94. Canada—$38.94; other foreign—$38.94, including postage and taxes. Payable in U.S. funds. For orders, address changes and all other customer service, phone toll-free (800) 283-4410. POSTMASTER: Send address changes to Outdoor Photographer, Box 37857, Boone, IA 50037-0857.Canada Post Publications Mail Class Agreement No. 1559788. See magazine mast for specific information on solicited and unsolicited contributions and the purchase of back issues.

Visit Your Favorite Places: Photographers from all over the world

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cover shot

Photographer: Stan MonizLocation: Newport Beach, CaliforniaEquipment: Nikon D7100, Tokina 11-16mm ƒ/2.8 AT-X 116 Pro DX lens, AquaTech Compac underwater camera housing

Situation: This image was taken in Newport Beach, which is near Moniz’s Southern California home. Even amid the coastal development sprawl, he captured a moment of quiet solitude. Moniz describes how he got this shot: “This particular September morning at Cylinders in Newport Beach, Calif., couldn’t get any better. A tropical storm came through the night before, causing the wind to go completely still, leaving the water glassy as an oil slick. With puffy high clouds sitting perfectly right above the horizon, it was the perfect recipe for an explosive vibrant sunrise.”

He continues, “At this time of year, the sun sits perfectly in a curling wave, causing reflections to occur. It’s a bril-liant mixture of water and light. Mov-ing ever so gently through the glassy water, I made only small movements to avoid a single ripple. Predicting where the tubing wave would break, lining up with the rising sun, I positioned myself and patiently waited for that perfect mo-ment. This shot, by far, was the highlight of the morning, and still remains as one of my favorite images I’ve ever taken.”

As GoPro and other sports-action cameras have exploded in popular-ity, many people are trying their hand at wave photography. Moniz started experimenting with a GoPro and pro-gressed to a DSLR in a dedicated un-derwater housing. You can see more of his photography in the article “Shooting The Curl” in this issue of OP.


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outdoorphotographer.com September 2014 11

T he September OP is like the summer denouement. Summer officially ends on the 21st of the month, and for the weeks that this issue of OP is on the top of your stack of coffee table maga-

zines, you’re hopefully soaking up the warm days and balmy evenings before we move into the chill of autumn. Late summer was when my father used to take the family to the beaches of North Carolina’s Outer Banks for our annual vacation. I remember walking around the village where we stayed at night and looking up at the Milky Way. For me, seeing the ghostly swath of star-light spread across the sky is synonymous with the final days of summer.

When Glenn Randall wrote to me asking about the possibility of doing an article about Milky Way landscapes, I immediately knew that I wanted to put it in this issue. Clearly I had personal reasons, but memories of my youth aside, in my opinion, this is the best time of year to photograph the Milky Way for most of the U.S. This is the time when you can see a lot of variety in the night sky during the course of an evening. In the article “Photographing The Milky Way,” Randall discusses his meticulous planning and precise technique for photograph-ing the Milky Way together with the terrestrial landscape. Take a look, and you’ll see how, with some basic gear, a little forethought and some patience, you can get startling night sky photos.

Modern cameras are capable of getting crisp, sharp images in extremely low light. ISO 204,800 is available in several models today, and while images at that setting aren’t going to be all that good, selecting ISO 3200 and 6400 can generate a cleaner file than ISO 800 did

just a couple years ago. If you can remember using film, you’ll recall that ISO 800 was once a pretty extreme emulsion and only to be used if you absolutely needed it. Photos like the ones we’re showing in Glen Randall’s article would have been beyond the reach of most OP read-ers. We’re in an age of leapfrog—cameras can do more, which leads photographers to push the capabilities, which leads cameras to do more.

Also on the topic of pushing capabilities, this issue has the next article in our occasional series on aerial unmanned vehicle photogra-phy. Drones are exploding in popularity, thanks mostly to the DJI Phantom line of quadcopters. The Phantom makes it incredibly easy to get into drone flying, and drone photography and videography. A lot of enthusiasts will be plenty satisfied with the image quality that a GoPro or a DJI camera can achieve, but for some photog-raphers, they want more. Jon Cornforth is one of those photographers, and in “Shooting From Above,” Cornforth describes how he migrated to a larger hexacopter drone that could take his larger cameras and lenses into the air.

Digital technology has ushered in an era of constant change for nature photographers and also for Outdoor Photographer magazine. In the coming months, you’ll see more changes to outdoorphotographer.com as we enhance the Classes, Tours and Workshops section, as well as increase the amount of online-exclusive con-tent. We’re creating more ways for the OP com-munity to keep in touch, and share images and techniques with one another. Follow us on Twit-ter @OutdoorPhotoMag and on Facebook. You can follow me @OPRobinson. —Christopher

Robinson, Pubisher/Editor

If you can remember

using film, you’ll recall

that ISO 800 was

once a pretty extreme

emulsion and only

to be used if you

absolutely needed it.

Photos like the ones

we’re showing in Glen

Randall’s article would

have been beyond

the reach of most OP

readers. We’re in

an age of leapfrog—

cameras can do

more, which leads

photographers to

push the capabilities,

which leads cameras

to do more.

Gle

nn R

and

all

in this issue

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12 Outdoor Photographer outdoorphotographer.comAlexandra Steedman

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14 Outdoor Photographer outdoorphotographer.comFranz Zihlmann

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NIKON D810 XNikon has announced the new 36.3-megapixel

CMOS sensor D810—the much anticipated

upgrade from the D800 and D800E. With the full

removal of the OLP fi lter to increase detail and

reduce moiré, the D810 also features the EXPEED

4 Image Processor, said to increase speed by 30%,

boost battery effi ciency and widen the ISO range to

64-12,800 (32-51,200 expanded). The camera can

be set to shoot in either the standard 14-bit RAW

fi le format or a slightly smaller-resolution 12-bit

format for a quicker workfl ow. An Advanced Scene

Recognition System uses the 91,000-pixel 3D Color

Matrix Meter III to analyze each scene using color,

brightness and human faces, and provide balanced

exposure to more diffi cult scenes. A “Flat” Picture

Control Profi le is available to preserve detail in

shadows and highlights. An “i” button on the back

allows for a personalized button setup, giving quick

access to your most utilized settings. Video features

include full 1080/60p HD resolution, zebra stripe

mode, full manual shooting with full AF ability, built-in

stereo mic, in camera time-lapse and interval timer,

and uncompressed digital HDMI recording to an

external device while also recording to an SD or a

CF card. List Price: $3,299 (body only). Contact:

Nikon, www.nikonusa.com.

LED RING LIGHT TRing lights are versatile workhorses and go-to lighting for

macro photography. The Kaiser KR 90 LED Ring Light

uses 30 three-chip, high-performance LEDs in a metal

duralumin body. The light provides continuously variable

intensity control while maintaining a constant 5500K color

temperature. Keeping all circuitry and the battery within

the housing, eliminating the need for an external power

supply, the ring light screws on to the lens with a 77mm

diameter lens mount (72mm, 67mm, 62mm, 58mm, 55mm

and 52mm adapters included). The 1500 mAh Lithium-ion

battery provides power for two hours and is fully recharged

in 2.5 hours. The ring light includes a ¼”-20 female tripod

mount and has a 1.2-inch minimum working distance.

Available through HP Marketing Corp. dealers. Estimated

Street Price: $325. Contact: HP Marketing Corp.,

www.hpmarketingcorp.com.

S MANFROTTO 190 SERIES TRIPODManfrotto has updated the 190 series tripod.

Available in either carbon fi ber or aluminum, the Quick

Power Lock design reduces setup time, allowing for

single-handed leg adjustments. Using only one fi nger,

the center column lifts up from the vertical position to

a 90º horizontal for full shooting fl exibility. The 190

also provides professional expansion using Easy Link

attachments to hold LED lights, refl ectors, triggers

and other accessories. List Price: $245-$478.

Contact: Manfrotto, www.manfrotto.us/190-series.



COVERT COMMUTER TThule adds the Covert collection to

their camera bag line, focusing on the

ability to effortlessly move from the city

to a weekend trip. The Covert DSLR

Rolltop Backpack utilizes a SafeZone

removable pod camera system with a

dual-density padded bottom to ensure

the safety of your camera and lenses.

The origami-style dividers hold a

prosumer DSLR with lens attached,

two additional lenses and flash, and

fold around your gear to hug your

personalized kit. With room for both

a 15-inch MacBook and an iPad, as

well as ample pockets for smaller

accessories, the bag also includes a

rolltop compartment that fits weekend

necessities such as snacks or a

change of clothes, or the divider

can be unzipped to create one

large-capacity pack. List Price: $199.

Contact: Thule, www.thule.com.

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COMPACT 4K SHOOTER XWith a one-inch, 20.1-megapixel MOS sensor, the Panasonic

LUMIX DMC-FZ1000 is the first compact camera to also

shoot 4K video. Offering a 4K MP4 shooting format, as

well as 1920x1080p AVCHD or MP4, the FZ1000 can

capture 8-megapixel still images from 4K video footage.

The high-sensitivity sensor reduces noise at high ISO (the

camera shoots ISO 125-12,800 expandable to 25,600).

The camera incorporates the Leica DC VARIO-ELMARIT 16x

25-400mm ƒ/2.8-4.0 optical zoom lens with a 5-step speed

control that provides smooth zooming for video shooting.

A 5-axis HYBRID Optical Image Stabilization compensates for

camera shake. Still image burst mode shoots at 12 fps.

The FZ1000 includes a high-speed OLED Live View Finder

and three-inch, 921K-dot, free-angle LCD with a 180º

side-to-side rotation and 270º up-and-down tilt ability. It

includes both WiFi and NFC connectivity for remote operation

and instant sharing. List Price: $899. Contact: Panasonic,

www.shop.panasonic.com.

EXPOSURE 6 TAlien Skin has released Exposure 6 software

with new features to bring a more organic,

analog feel to your digital images. Exposure 6

gives you the ability to manipulate focus,

vignettes and depth of field, including the

simulation of specific lenses (such as the Canon

EF 85mm ƒ/1.2L and Nikon 300mm ƒ/2.8) and

lens types (such as a tilt-shift lens). With a clean

layout, the software has a new basic control

panel for fine-tuning elements like exposure,

contrast, highlights, shadows, etc., and offers

full-sized instant previews. Exposure 6 also has

new borders, textures and lighting effects like

realistic light flares. List Price: $149. Contact:

Alien Skin, www.alienskin.com.

S FOUR THIRDS FLASHNissin has expanded the i40 line

to include a flash designed

specifically for use with Four Thirds

cameras. At under 3½ inches high

and less than eight ounces in

weight, it’s travel-friendly. But don’t

let its small size fool you—it’s packed with professional punch.

The easy-to-use, two-dial controls set function modes and power.

The i40 includes two traditional optical slave modes for a TTL flash

and studio strobe triggering, an HSS up to 1⁄8000 sec. shutter sync

speed and flash output of GN40 at 105mm. The flash head rotates

180º horizontally and 90º vertically, and has an auto-adjust zoom

head, built-in diffuser and included softbox. The i40 also provides a

video light function with nine levels of power adjustment. List Price:

$269. Contact: Minox, www.minox.com/usa.


S REMOTE SENSORY TRIGGERFor photographers interested in remote triggering, the Strike Finder TOUCH offers a touch screen to program the device in five different sensory modes. Lightning Mode reacts to a flash event in under one millisecond, both day and night, capturing dramatic storm images. Laser Mode captures an image when the laser trigger is tripped, be it by an animal or a flying object. Sound Mode uses an external sensor to capture images during loud noises, while Motion Mode fires one exposure or multiple exposures when an infrared sensor attachment is triggered. Time Lapse Mode can start a time-lapse sequence based on any of the above parameters. The 4x21⁄4x1-inch device attaches to a hot-shoe and is powered by four AAA batteries or a power adapter. Estimated Street Price: $349. Contact: Ubertronix, Inc., www.ubertronix.com.

S MICRO FOUR THIRDS “ALL-IN-ONE” ZOOMTamron has introduced the 14-150mm F/3.5-5.8 Di III “All-In-One” zoom lens for Micro Four Thirds camera systems. The combination of Low Dispersion, Anomalous Dispersion, Molded-Glass Aspherical and Hybrid Aspherical glass elements reduces aberration, while a circular diaphragm ensures a soft bokeh effect. The Stepping Motor has been specifically designed for this lens for quick, accurate and quiet autofocusing. The compact metal lens barrel is available in either black or silver. List Price: $589. Contact: Tamron, www.tamron-usa.com.

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1 TB SOLID-STATE DRIVE XTranscend has released the ESD400, an SSD with capacities up to

1 TB. Using a USB 3.0 connection (backward-compatible with USB

2.0), the drive has a 410 MB/s read speed and 380 MB/s write speed.

Utilizing solid-state technology, the drive is compact—about the size of

a deck of playing cards—and a lightweight 56g. It’s also five times more

shock- and vibration-resistant than a typical hard disk drive. The ESD400

comes with a three-year limited warranty. List Price: $109 (128 GB); $189 (256

GB); $349 (512 GB); $699 (1 TB). Contact: Transcend, www.transcend-info.com.

S REPLICHROME SLIDEReplichrome was created out of

the desire to match authentic film

grains in the digital photography

era. Replichrome II: Slide goes

a step further, replicating the

look and feel of modern and

discontinued slide films by Fujifilm,

Agfa and Kodak. Re-creating

realistic slide colors and contrasts,

each preset is based on film

developed by Richard Photo Lab

based in Hollywood, Calif., and

can be tweaked to match your

personal developing tastes in

Lightroom or Photoshop. List

Price: $99. Contact: Totally Rad,

www.gettotallyrad.com.

AIRPORT ROLLER DERBY TPhotographers constantly on the move will appreciate

the improved weight distribution and rolling versatility

of Think Tank Photo’s Airport Roller Derby bag. With

four dual wheel sets, the bag can roll smoothly atop

all four wheels, tilted to roll on its back wheels or tilted

to roll on its side wheels for maneuvering tight spaces

such as airplane aisles. The Airport Roller Derby holds

two DSLRs, a tripod, additional strobes and lenses

including a 400mm ƒ/2.8 unattached, and has a

separate 15-inch laptop pocket. All your gear remains

safe with a lock & cable and lockable zippers. Sealed

steel bearing wheels are replaceable. List Price: $389.

Contact: Think Tank Photo, www.thinktankphoto.com.


SIDE SLIDE STRAP XKeep your camera tucked

safely and conveniently at your

side with the new Side Slide

strap from BosStrap. The

Side Slide attaches to your

camera’s strap lug with a

quick-release camera

connector, leaving the tripod

socket free for quickly

switching between handheld

and tripod shooting. The

padded, 1-inch-wide shoulder

strap is reversible for left or

right shoulder use and is held

in place with a detachable

chest strap. Two Side Slides

can be used when shooting

with two cameras. Estimated

Street Price: $59. Contact:

BosStrap, www.bosstrap.com.

W EXPLORER LENS POUCHThe HoldFast Explorer Lens Pouch

works seamlessly with the HoldFast

Photo Belt or MoneyMaker system to

keep your gear balanced and easily in

reach. The main pouch has a cozy

sheepskin interior, with the Large size

holding a 70-200mm ƒ/2.8 and two

additional lenses with two customizable

dividers, and the Small holding two

midsized SLR lenses or four

rangefinder/mirrorless lenses with one

customizable divider. The exterior is

made of weatherproof wax canvas and

leather trim, and features several

additional pockets. The side snap-shut

pocket holds a wallet and smaller

personal items. A pocket on the other

side carries a flash. The front pocket

holds larger accessories while a

zippered pocket on the top flap holds

batteries, memory cards and small

accessories. List Price: $245. Contact:

HoldFast Gear, www.holdfastgear.com.

H O W A B O U T N O W ?

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FLASHPOINT STREAKLIGHT TThe Flashpoint StreakLight is a portable strobe, convenient for both camera-shoe mounting or off-camera lighting. A large LED panel gives you control over manual exposure, high-speed sync, built-in optical slave and autofocus assist. The articulated head provides personal light shaping with use of the included standard, parabolic reflector and diffusion panel. The StreakLight also includes two sync jacks, overheating protection circuitry and a wireless remote-control USB port. Cords are available for major cameras, and there’s a full line of accessories. The lightweight Blast Pack complements the StreakLight with replaceable, rechargeable batteries. List Price: $405 (StreakLight 180W);

$599 (StreakLight 180W with Blast Pack); $549 (StreakLight 360W); $749 (StreakLight 360W

with Blast Pack). Contact: Flashpoint (Adorama), www.adorama.com.

S MONOPOD EXTENDERGrabbing self-portraits or high-quality video of yourself is no easy task, particularly if you’re trying to do so while surfing, skateboarding or skiing. The Handheld Extendable Monopod by the Xit Group makes it easier, coming with both a GoPro mount and a standard camera mount, allowing you to reach the camera out to selfie distance. While a small 8.25 inches when closed, the monopod extends to 43 inches for new creative angles. It includes a padded handle and wrist strap for secure maneuvering. List Price: $29. Contact: Xit Group, www.xit-group.com.

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S CREATIVE CLOUD PHOTOGRAPHY PLAN

Adobe has announced the Creative

Cloud Photography pricing plan, offering the full functionality and integration of Photoshop CC and Lightroom (including the new mobile apps) at a low price. Along with the release of this plan option, Adobe also announced new features of Photoshop CC. Photographers now can take advantage of area-specific Perspective Warp, Blur Gallery motion effects, Focus Masking and improvements to Content-Aware functionality. List Price: $9.99.

S LIGHTROOM mobile FOR iPHONE

Just months after releasing Lightroom

mobile for the iPad, Adobe has now made the app available for the iPhone as well. Importing images from the camera roll or syncing with the Lightroom Catalog on your desktop, the app provides the same nondestructive editing tools as the desktop program, including star and flag ratings and full metadata editing. Images in the catalog are also available via any web browser at lightroom.adobe.com, making Lightroom a fully integrated on-the-go workflow. List Price: Free (with Creative Cloud subscription).

S PHOTOSHOP MIX APP

The Photoshop Mix app makes complicated editing doable while on the go by providing full nondestructive Photoshop features such as Upright, Content-Aware Fill and Camera Shake Reduction for your mobile device. Combine images, remove objects and create masks for your photos. Then export the layered images for additional touch-ups using your desktop Photoshop CC. List Price: Free (with free Creative Cloud ID). Contact: Adobe, www.adobe.com.

APPS FOR NATURE PHOTOGRAPHERS


Diffraction Distraction

QTo get more depth of field in my macro shots, I’ve been using an aperture of ƒ/22. I’m seeing a larger area of sharpness, but the overall image just isn’t sharp.

I’m using an expensive 100mm macro lens with disappointing results. What’s going on?

R. RenaldoSan Diego, California

AAn optical phenomenon known as diffraction is affecting your image quality. The sharpest image is formed

by straight rays of light, that is, rays that aren’t impeded or bent as they enter the lens and reach the sensor. The wider the lens opening,

the sharper the image. The downside of this is that, at higher magnifications, depth of field is minimal; efforts to increase it by choosing a smaller aperture result in an image that’s being formed by rays that are bent as they enter the lens diaphragm.

As an example, I often use the Canon MP-E 65mm ƒ/2.8 1-5x Macro lens. At 1x, I can use ƒ/16 and get good results in sharpness. When I extend the lens to attain 5x, I need to open up the aperture to at least ƒ/4 to minimize diffraction, but I get less depth of field. If I use ƒ/16 at 5x, the image won’t be sharp at any point. This is a real problem because, at the higher mag-nifications, I need as much depth of field as possible. The best that can be done with a single shot is to compose the image so the area of sharp focus is positioned to emphasize the message or most important feature.

A total solution is a technique called focus stacking. With the lens set at its optimum aperture, the photographer captures a series of images, moving through the subject and overlap-ping the depth of field at each position. A post-capture pro-gram such as Photoshop (www.adobe.com), Helicon Focus (www.heliconsoft.com) or Zerene Stacker (www.zerene systems.com) assembles the “slices” of focus into one com-pletely sharp image. The programs miraculously keep the sharp areas of each image in the stack and ignore the out-of-focus areas. Stacking can be used in many photographic situ-ations, from macro to landscape, and it’s a technique I highly recommend and teach in my seminars and workshops.

Flickering Time-Lapses

QI’m into creating time-lapse movies with my DSLR, but I’m having trouble with a sort of flicker in the movie when it plays back. What’s causing this, and

how do I get rid of it?K. Howard

Via email

AFlicker is a common problem in time-lapse (TL) compositions; it’s caused by slight variances in exposure from

one capture to the next. Even though your ex-posure and shutter speed are manually set ex-actly the same for each capture, the lens dia-phragm doesn’t open and close precisely the same amount each time it cycles from the preset

Not So Sharp?$IFFRACTION�$ISTRACTION�s�&LICKERING�4IME ,APSES� 4HE�$RIVE�6S��4HE�#LOUD��5PDATED�h7HETHERv�2EPORT[ By George D. Lepp With Kathryn Vincent Lepp ]

tech tips

LEFT: George Lepp photographed this cactus patterned with fine needles and tiny flowers with a Canon EF 180mm macro at 1⁄45 sec. at ƒ/11. Nineteen stacked images rendered the subject needle-sharp from front to back when composited with Zerene Stacker software.

MORE On The WebOP columns are available as an archive online at

www.outdoorphotographer.com/columns.

Find tips, answers and advice from OP’s trusted

stable of world-famous nature photographers!

�


aperture to wide-open between cap-tures. A better process would leave the aperture closed down to the preferred aperture during the whole sequence, eliminating the opening between cap-tures, but today’s lenses don’t do that. An older, completely manual lens (when was the last time you saw one of these?) remains at the set aperture between captures. Some TL photog-raphers compensate for this by setting their exposure to the widest aperture possible to minimize the movement of the diaphragm. The drawback to this strategy is that control of exposure and depth of field are limited, and a fast shutter speed is required.

Shutter speeds also are inconsistent by a small percentage; it’s more evi-dent with fast shutter speeds. Most TL photographers recommend using a slow shutter when capturing the many im-ages in a sequence.

There’s an override solution, albeit a bit risky. Set the desired ƒ-stop, then depress the depth-of-field preview but-ton and the lens release button simulta-neously while just slightly twisting the lens to unmount it; this locks the ƒ-stop at the set aperture. Be very careful not to rotate the lens too much because it could detach and drop from the body. Remount the lens securely as soon as the sequence is finished!

If these capture procedures aren’t pos-sible or don’t solve the problem, look at post-capture correction. Three programs can minimize TL flicker. The most powerful is LRTimelapse from Gunther Wegner in Germany (99 € and up, www.LRTimelapse.com), which works in conjunction with Lightroom to optimize each frame in the TL, correct any abrupt changes in exposure between frames, and smooth transitions between day and night. Sequence, an app for Mac users ($39.95 from the App Store), smooths flicker in postproduction. Granite Bay Software’s GBDeflicker ($99, www.granitebaysoftware.com) is designed to work with Adobe Premiere’s video as-sembly app.

The Drive Vs. The Cloud:

Updated “Whether” Report

QYou’ve mentioned before that you’re not inclined to adopt cloud storage to back up your

images because you’re reluctant to

tech tips relinquish control to a third party, but I’m still struggling with the decision. Isn’t cloud storage technically ad-vanced and less expensive?

J. ThompsonChicago, Illinois

AThe only wrong decision you can make here is no decision: It’s truly necessary to back up

your images routinely. The only time I’ve ever lost images was the one time that I attempted to transfer a group from a new external drive to repopulate the internal drive of a new computer. The external drive failed before I accom-plished the transfer. It made me so mad that I’ve never allowed my images to reside in only one location, even for a few minutes, since then.

A few months ago, I wrote in this space about the system of storage and backups I’ve just put into operation with my new Apple Mac Pro, aka the Trash Can, which has a maximum 1 TB inter-nal PCIe-based flash storage that’s ded-icated to applications. Nearby, I have shelves of external storage drives—about 30 TB in the form of six Seagate (www.seagate.com) 4 TB and four 3 TB drives that are about two-thirds full. But that’s only the front line of storage; two full sets of backups are maintained both on-site and in a safe-deposit box at a bank. At a cost of approximately $150 each for the 4 TB drives and $120 for the 3 TB units at Costco, the entire sys-tem of file backups costs about $2,760. Don’t panic! Not everyone needs that much storage right away, but be aware that image files are increasingly larger, with worked Photoshop files, hi-def video (4K?) and high-resolution pan-oramas, to name a few storage hogs.

Another option for mega-storage is a RAID (Redundant Array of Inde-pendent Disks) system, which houses several internal drives in a containment system with a controller to either man-age the contents as a single unit or des-ignate one of the drives as a redundant backup system for the whole. Drobo (www.droboworks.com) and the Buffalo Drive Station (www.buffalotech.com) are examples of this type of system. My colleague Robert Agli has a multi-drive Drobo as a backup and has had only one of his many drives fail in 11 years.

In addition to the control factor (I worry that a cloud storage company will go out of business, have a failure or be

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down for a period of time when I need my files), I need the speed of the USB 3 drives (625 MB/sec.) and am look-ing forward to even faster transfers with Thunderbolt in the future. Cloud-based storage over the Internet is far slower, depending upon your Internet upload options; the fastest speed available to me is 5 MB/sec. While some argue that, even with its limitations, the cloud is more secure than hard drives that can fail, my success rate with drives exceeds expectations; the common wisdom, ac-cording to tech magazines, is that 10% of external drives will fail in three years, but that just hasn’t happened, and with two backups, it’s not an issue.

So what about the cost factor? Let’s assume you’re an advanced amateur photographer and need about 5 TB of backup for your images. A 5 TB Seagate external backup drive from Amazon goes for around $200. A cloud-based backup from Carbonite (www.carbonite.com) is $100 per year for unlimited space on one computer. If we assume three years of life for the external drives (even though they would last longer), that’s $300 for three years of the cloud vs. $200 for your own external storage.

I do see two conditions under which you may want to use the cloud for image storage. If you need enormous amounts of space, the cloud may be a more eco-nomical option. And if you want to ac-cess your image files from anywhere, the cloud can be a benefit. A readily avail-able cloud option is the iCloud Drive, a new service for Mac users, which offers 5 GB free (not really much help, when the camera’s CF card holds 16 GB), or $47.88/year for 200 GB. Google Drive is $119.88/year for 1 TB. These servic-es don’t really seem to understand the needs of digital photographers.

I hear a lot from photographers who are frustrated with the amount of com-puter time and knowledge required to merely keep up with processing and or-ganizing digital image files. But if the images you capture are worth keeping, then they’re worth the time to organize and protect in a systematic, reliable way. Just sayin.’ OP

Follow George Lepp’s exploits, see his latest photographs and be part of the discussion on his Facebook page at www.facebook.com/georgelepp.

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Elakala Falls, Blackwater Falls State Park

[ F A V O R I T E P L A C E S ] Text & Photography By James Evangelista

scenic views in all of West

Virginia. The different areas in

the park are well marked, and

the hiking trails have blaze

markers. For obvious reasons,

Elakala Falls is popular among

photographers, hikers and na-

ture lovers alike. The falls are

less than a quarter-mile down

the trail. You’ll know you’ve

reached them when you come

to a wooden footbridge over

Shays Run, where Elakala

cascades directly under your

feet at this point. The trail re-

ally doesn’t give you a good

look at the waterfall, so take

the time to follow the “unoffi -

Location

Elakala Falls is located inside

of Blackwater Falls State Park

in the Allegheny Mountains of

West Virginia. Pristine moun-

tain views and a series of wa-

terfalls provide one of the most

Neutral-density fi lters offer

semi-opaque optics that limit

the amount of light that enters

the lens. This gives you far more

leverage with both shutter

speed and aperture, especially

useful for achieving

cotton candy-like

effects to motion

blur with running

water. ND fi lters

are available in

a variety of

densities, while

a few models like

Kenko’s Variable

NDX fi lter are

capable of dialing

in the amount of

light loss at up to

eight stops or more.

Using a single variable ND

fi lter instead of stacking

several models also will help

to reduce vignetting.

Explore exciting nature imagery in the Your Favorite Places gallery at www.outdoorphotographer.com. Submit your photos for a chance to be published!

What’s Your

Favorite Place?

camera, but in the rushing wa-

ter, I’m not taking any chances.

Best Times

I’ve seen the park in all four

seasons—fast-fl owing water-

falls adorned with the fresh

green buds of a new spring or

surrounded by the soft golden

hues of autumn. But never

have I seen the falls when they

weren’t undeniably attractive

and exhilarating. The falls can

be enjoyed anytime of the year;

however, they’re clearly at their

most beautiful during early to

mid-spring when the water

levels are high, and especially

in the fall foliage season in

mid-October. Braving the cold

winter months pays off, as the

landscape takes on a whole

new look. Be advised to call

ahead when there’s snow or

ice on the ground, as the trails

may be closed. If possible,

plan your visit for a weekday,

when crowds are likely to be

signifi cantly smaller.

Contact: You can learn more

about Blackwater Falls State

Park on the website at

www.blackwaterfalls.com. OP

WEST VIRGINIA

WEST VIRGINIA

�Elakala Falls,

Blackwater Falls

State Park

cial” footpath down the ravine

to the base. The stream leav-

ing the base of the falls takes

a beautiful swirling path across

moss-greened rocks, actually

cascading all the way down

to the bottom of Blackwater

Canyon. This location is such

a place! The dark, tumbling

waters plunge almost 60 feet,

creating one of the most pho-

tographed sights in the state.

The falls are accessible from

steps, and several viewing

platforms allow visitors to en-

joy the falls year-round.

Weather

Summers are the most popular

season, though the waterfalls

are usually at their lowest point

when it comes to fl ow at this

time of year. Time it right for late

summer, however, and you can

catch early fall colors against

leftover greenery along the lush

embankment. With such a vari-

ety of trees, hikers will observe

exceptionally colorful vistas in

the fall, with temperatures av-

eraging comfortably in the 50s.

Blackwater Falls State Park is

open year-round, and winters

are typically cold with signifi -

cant snowfall. Cross-country

skiing is a popular activity dur-

ing the winter.

Photo Experience

The best lighting conditions

almost always will be on a

soft overcast day, where you’ll

have a better chance of drag-

ging the shutter to create a

silky fl ow of water while not

blowing out the highlights. To

create this effect, you can use

a neutral-density fi lter to re-

strict light for a slower shutter

speed, while variable neutral-

density fi lters give you several

stops of control. To capture

the color of the falls, I use a

Hasselblad SWC camera with

Fujichrome Velvia fi lm. To keep

my camera steady, I mount it

on my Gitzo GT3541 Series 3

tripod, which is maybe a little

bit of overkill for such a light

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LEFT: A wave breaking on a Molokai beach. Dewitt Jones was singularly focused on getting this image. As the light changed and shooting conditions deteriorated, his mind was freed to take in the entirety of the scene to give him both an experience and a great photo.


W hat is love?” someone asked the Dalai Lama. His reply? “Love is the absence of judgment.”

Well, that sounds quite lovely, but se-riously, without judgment, I wouldn’t be

much of a photographer. I make a huge number of judgments every time I take a shot—what’s the right lens, the best angle, the proper exposure, the correct color balance, the perfect mo-ment to push the shutter? Without all those judgments, would I ever get an image?

No, I wouldn’t, at least not a good one, but I’ve wandered around in nature enough to know that the times I’m happiest are the times when I’m feeling connected to everything around me. And, if I look carefully, those times are indeed without judgment. One leaf isn’t better than another; the sky isn’t more perfect than the grass; there’s no “best” angle to view it all from. I feel both in and of the landscape. I observe that things are different from each other, but there’s no judgment. I’m in “love” with it.

Darn, I want both. I want to fuse with the uni-verse and I want to take photos. I want to have a great experience and capture a great image.

JudgmentsLet go, and you’ll see the vast array of beauty all around[ By Dewitt Jones ]

basic jones





�

It’s a fascinating and rather delicate dance.

The other day, I went to the beach to shoot waves. The surf report was good, my confi-dence was high. I arrived and found the ocean flat-calm. Then, way down the beach, I saw waves breaking in one very small area. Immediately, I was locked in like a cheetah

after a gazelle. I forgot about the folks who were with me (never thought to even ask them if they wanted to make the long trek down the beach). No, I just set off on my own little death march, with no intention of stopping until I had reached those waves.

Have you ever left your house to go to the grocery store or your office and found when you arrived there that you had absolutely no memory of the drive? That’s what my hike was like. I was so locked in on my goal, so certain of my judgment, that the place I was going to was far, far better than the place I was, that I stopped noticing or experiencing anything around me till I reached my destination.

Would it have been possible to enjoy the journey and still reach my goal? Certainly, if I had just been a little more conscious of how my judgments were blinding me, I could have enjoyed every step of my journey and still arrived at the same time. I could have allowed myself to delight in the wind

against my face and savored the warmth of the sun on my shoulders. As I walked, I could have reveled in the feeling of the sand beneath my feet and between my toes. I could have done all this, with love, without judgment, and still have arrived at my goal at


the same time. I could have, but I didn’t.

That realization brought me up short,

and I decided I would try and do a bet-

ter job when I started shooting. But that

was even harder. Obviously, I wanted to

capture the most colossal wave just as it

broke. I’d wait, pick what I thought was

the best one, and shoot like crazy, then

look to the next incoming wave and find

myself disappointed if it wasn’t bigger

than the one I had just shot. Judgment

again. Big waves were good. Other

waves, not so much. It became long

stretches of disappointment punctuated

by moments of glee and frantic shoot-

ing. If I tried to break the cycle and

just enjoy each wave for what it was,

I found I wasn’t as ready for the big

ones when they arrived. My judgments

were definitely helping me get the shot,

but just as definitely messing with the

experience. Okay, let the experience

go for the moment and get the shot. I

did. Many of them. I shot until I was

exhausted and the best light was gone.

Now, Dewitt, sit down. Sit down and

just enjoy. No judgment. Just discern-

ment and observation. Just mindful-

ness. Just love. Aaah, delightful.

The walk back was the same way. I

let myself do everything I had neglected

to do on the hike out. In the end, I felt I

had met my real goal for the day—great

photos and a great experience.

To some of you, this might all seem

like one big “duh.” Of course, there are

times when we need our judgments and

times when we need to let them go. We

all know that. But there are many things

we all know. They’re simple. Simple,

but not easy. It takes mindfulness and

practice to recognize which state you’re

in and then be able to move easily from

one to the other.

Our judgments help us to learn

the elementary lesson of photog-

raphy: getting the beautiful shot. The

letting go of judgments helps to ex-

perience the advanced lesson of pho-

tography—that it’s all beautiful and

there for us to enjoy. OP

Dewitt Jones’ new ebook Celebrate

What’s Right with the World! is

now available on Amazon and the

iBook Store. It’s a wonderful collec-

tion of the best images and words from

the Celebrate Facebook page, www.

facebook.com/celebratewhatsright.

basic jones

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Need To KnowThere’s no substitute for getting out and just taking photographs

[ By William Neill ]

on landscape

LEFT: Clearing Autumn Storm, Yosemite National Park, California, 2013 BELOW: Autumn Oaks and Snowstorm, El Capitan Meadow, Yosemite National Park, California, 2013






�

This is the golden age of infor-mation. Photographers have access to endless amounts of guides, tutorials, ebooks and websites about making

perfect photographs, any kind of photo-graph, and that includes landscape pho-tographs. Need to learn techniques for composing, exposing or postprocessing your images? Many sources are avail-able, offered by excellent photographers and teachers. Outdoor Photographer covers those subjects in depth, in the magazine and on the website, leading the way forward since 1985. Need to know where to photograph and when at a new location? With a smartphone, you can learn where to stand, as well as the sunrise/sunset times so you know how early to set your alarm—no exploration or scouting needed!

My own photographic path started in the “old days,” with 35mm film camer-as in the 1970s. Then I used a 4x5 view camera and sheet film for 25 years. I began making digital prints in 1994, and since 2005, have switched entirely to digital capture. My digital skills have evolved slowly, steadily into a simple, but effective toolset. When I can’t make my images say what I want them to say, when lack of technique is block-ing my artistic expression, I update my skill set. I learn more. But in those early years, I made some very strong images

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on landscape

with very little knowledge of technique.With all of this in mind, a question

has been bouncing around my head: How much does a photographer need to know before he or she can make a great photograph? The focus on consuming every possible technique drives me cra-zy sometimes, or maybe I’m just lazy! Seriously, the way I stay creative is to keep it simple. If my mind is too full of tech thoughts, they get in my way.

Last fall, I worked with a student from Hawaii who had never been to Yosemite before. The autumn color was peaking, especially the oaks and ma-ples. A storm was coming the morning we started. The forecast was for a rainy

day, but I looked forward to taking ad-vantage of the soft light to photograph the saturated colors and patterns of au-tumn leaves. A strong wind that night had brought down most of the yellow maple leaves, covering the forest floor, especially at Fern Springs. Our work-shop was off to a great start, but then it began to pour, so we decided to wait out the rain over breakfast at the Lodge. As we sat, we were thrilled to see that it started to snow! A few gulps later, we were out the door.

One of our first stops was El Capitan Meadow, where we photographed gold-en oak leaves in the snowstorm. I helped Sean work out his compositions and made sure he tried various shutter speeds. As with moving water, each change in shutter speed conveys a slightly different effect, with blurring or freezing the rapidly falling snow flakes. I showed him how to create panoramic images like “Autumn Oaks and Snowstorm” using multiple frames to stitch in Photoshop.

The conditions were thrilling, and next I found a deep-red dogwood tree with snow gathering on the leaves. I helped him find the best angles for simple and clear image designs. My in-structions were simple, such as improv-ing his camera angle and helping him find the right balance between shutter speed and aperture.

Soon the clouds began to clear, so we headed to Tunnel View. Looking east at El Capitan and Half Dome, snow had

dusted the trees and cliffs, with dra-matic clouds hanging around the cliffs. We immediately set up before the clas-sic view. He had never photographed at Tunnel View before! I suggested to Sean that he visualize postprocessing this image as a black-and-white pho-to, which could heighten the forms of clouds and cliffs. This approach worked out very well for him for his final rendi-tion of this scene.

As he photographed, I turned around to simply enjoy the clearing storm. To my pleasant surprise, I saw the mag-nificent conditions so sought after by photographers at Tunnel View when looking east during sunrise or sunset. The nearby cliffs, not the iconic view,

were beautifully backlit and shrouded with clouds, beams of sun streaming through the mist. The light was chang-ing quickly, so we had little time to think or analyze. We worked on this new composition thoroughly, watching his histograms carefully in the brilliant and rapidly changing light. I’ve includ-ed my own version in this article.

The day continued with more spectac-ular photography of both intimate details and grand views, focusing on the expe-rience and the basics of making good exposures: clean design and great light. We had the next day’s session to analyze, delve into technical issues and discuss postprocessing options. To summarize, Sean had an epic first day in Yosemite.

The question remains: How much do we need to know? Hunger for more knowledge and better technique is a good thing. Sure, spend hours in front of your computer editing your images. But when you feel the inspiration, whether in front of a grand landscape or a flower in your backyard, let go of the rules and regulations, and embrace the Beauty. Be in the moment. Connect with your sens-es. Art will come through your emotions when most intense. On that October day, all we “needed to know” was that we were there to see it. OP

To learn about his one-on-one Yosemite workshops, ebooks and iPad app and to see his latest images, visit William Neill’s website and photoblog at www.williamneill.com.

How much does a photographer need to know before he or she can make a

great photograph? The focus on consuming every possible technique drives me

crazy sometimes, or maybe I’m just lazy! Seriously, the way I stay creative is to

keep it simple. If my mind is too full of tech thoughts, they get in my way.

THE TOUGHEST FILTERS ON THE PLANET.


AA s s i g n m e n t s �� Winning Images From The Week ly Ass ignments At outdoorphotographer.com

1

In the late spring and early summer, we ran an eclectic mix of Assignments, including

Abstracts, Wide-Angle, Wildfl owers and Brooks, Streams & Rivers. The best photos from

each of those categories is featured in this issue of OP. You can see all of the submissions

in the Assignments Galleries at outdoorphotographer.com. Send your ideas for future

Assignments to [email protected].

—Christopher Robinson, Editor


2

3


4

1) Abstracts Assignment Winner

PHOTOGRAPHER: Dean Cobin

EQUIPMENT: Canon EOS 7D, Canon EF 100-

400mm ƒ/4.5-5.6L IS USM, polarizer, Induro

tripod, Really Right Stuff BH-50 ballhead

Harriman State Park is one of the premier

locations for landscape photography in New

York State, and it’s simply spectacular in the

fall, with its abundance of sugar maple and

oak trees in vibrant shades of red, orange and

gold. The lakes also are filled with water lilies,

which turn beautiful shades of green and

purple. Spending many fall mornings and

evenings tracking the light in the park, I often

had noticed the amazing reflective color

coming off the surface of the lakes. This gave

me the idea to combine that reflective color

with the lily pads for an abstract image. In

weather forecast on this morning in June was for

a chance of showers followed by rain. Luckily, the

heavy rain held off, though raindrops were falling

at the time of this shot. Great skies often coincide

with unsettled weather, so I didn’t let the forecast

deter me. The ability to react to changing weather

and floral conditions was critical in pulling off this

shot. I did use some advanced capture and

postprocessing to create the finished vision I had

for the scene. For the “in-your-face” perspective

and depth that a superwide-angle lens affords, I

moved as close to the nearest flower as the lens

would focus. I quickly took several exposures at

ƒ/16 at ISO 100 at increasingly distant focal

lengths to combine in post for infinite depth of

field. My last two exposures for the sky preserved

the dynamic range. I converted each image in

Adobe Camera Raw, optimized each in

Photoshop CS6, then used the Auto Align feature

in CS6 to align all of the focal slices of the flowers

and field. The sky was manually blended into the

flower and field portion of the image using layers.

3) Wildflowers Assignment Winner

PHOTOGRAPHER: Lindsay Daniels

EQUIPMENT: Canon EOS 5D Mark II,

Canon TS-E 24mm ƒ/3.5 II, Gitzo tripod,

Kirk BH-3 ballhead

Every July, wildflowers carpet Albion Basin at

the top of Little Cottonwood Canyon, near Salt

Lake City, Utah. I had explored the area and

found that this spot had the most wildflower

coverage and the best view of Devil’s Castle in

the background. But at this specific spot last

year, there were several family and wedding

photographers working in the area. It was about

half an hour before sunset, and I was afraid I

would have an inadvertent family sitting in the

corner of my frame. I decided to wait it out and

be patient. After all, patience is the key to

landscape photography. By the time the real

magic happened, everyone had left, and I

was rewarded with some great pink light and a

field of yellow sunflowers all to myself. My

postprocessing consisted of focus-blending

techniques in Photoshop and fixing tone and

sharpening in Lightroom.

4) Brooks, Streams & Rivers Assignment Winner

PHOTOGRAPHER: Joe Rossi

EQUIPMENT: Nikon D600, AF-S Nikkor

17-35mm ƒ/2.8D IF-ED, Manfrotto tripod

I was at Yellowstone National Park in June 2014

to photograph a half-marathon. It has become

tradition that one of the nights before a race, we

get out and do a bit of night photography, this

time in bear country! This particular trip found us

driving through the West Gate and into the park

at about midnight. We had failed to scout the

location prior to showing up and we spent the

better part of an hour shooting from a viewpoint

from which you couldn’t see the falls. You could

hear the falls and you could make out parts

of the river in the distance, but it wasn’t until

you had a good exposure that you knew you

hadn’t captured the actual falls. We relocated

and shortly I was able to frame the shot I had

in mind. It was windy, and I was really pleased

with the way the moon helped to illuminate the

clouds as they moved through the sky. Luckily,

we avoided any bears, and at around 4 a.m., we

decided we had enough and made for the hotel.

October 2012, after trying several focal

lengths, I concluded closer was better. I used a

400mm lens to capture an interesting group of

lilies floating in pools of gold created by the

reflective light coming off a grove of maple

trees. Abstract realism is something I’m always

on the lookout for in my photography.

2) Wide-Angle Assignment Winner

PHOTOGRAPHER: Harry Lichtman

EQUIPMENT: Canon EOS 5D Mark II, Canon

EF 16-35mm ƒ/2.8L II, Manfrotto tripod

I had made several trips to the Wagon Hill Farm

Conservation Area in Durham, N.H., this past

spring as various wildflowers came into bloom.

The variety of flowers and the ability to shoot in

all directions made this a great choice for adding

to my wildflower and local collection. The


PURPOSEFULP h o t o g r a p h e r

Every time Andy Biggs presses the shutter button,

he’s thinking about creating an image that conveys

these impressions: remote, timeless, hopeful,

uplifting and regal. These adjectives form the

core of his approach to photography.

BY WILLIAM SAWALICH

PHOTOGRAPHY BY ANDY BIGGS

The

TT

T


gear—including the long lenses that are the typical tools of the wildlife photog-rapher—in order to complete his con-version to one of the highest-quality cameras available, the medium-format Phase One 645DF and IQ280 digital back. (He has plans to switch to the IQ250 for its CMOS sensor, which is more capable in low light than the CCD of the IQ280.) Seasoned photographers are surely wondering how a profes-sional photographer manages to photo-graph wildlife with a system that tops out in focal length with a medium tele-photo. It’s simple: Wider compositions fit with Biggs’ photographic goals, not the other way around.

“It comes down to visual storytell-ing,” he says, “and photographers are visual storytellers. I always approach a photograph assuming that there’s no narrative of words to go along with it, so you have to get it all in visually. And how are you going to do that? I remem-ber one time standing there with Galen Rowell and Frans Lanting, and the two of them were saying you need to figure out whether you’re going to tell your

TThe language a photographer uses to talk about his or her work can be a useful tool to make better photographs. That’s the premise put forth by photographer and workshop leader Andy Biggs, who has developed a system for refining his visual style based on the adjectives that best describe his most successful wildlife and landscape photographs. For Biggs, that language is more important than the places he’s going or the tools he’s using. It speaks to creativity and vision—the build-ing blocks of successful photographs.

“When people get into photography,” Biggs says, “they’re led to believe a few things: that good gear will yield better photographs and that being at the right

place at the right time will help create photographs that stir the soul. I think only part of it’s true. What’s missing is how creativity drives the craft. I often see people with all of the latest gear engage in discussions online and in person that display a deep knowledge on all of the functionality of gear: ‘This button does this and this functionality does that’ kind of talk. So what’s happening is, the craft of photography is driving the creative: ‘If this button does this, then let’s use it.’”

It’s not that craftsmanship isn’t important, it’s just that Biggs believes there’s more to meaningful work than the sum of tools and technique. The camera matters, but it doesn’t dictate the aesthetic. To that end, Biggs is cur-rently selling all of his 35mm DSLR


Andy Biggs’ magnificent work from Africa, like all of his photography, is driven by his five core adjectives. He finds the approach to be liberating, as he explains, “I don’t think about gear any longer. If I want to illustrate, oh, wildlife in the Serengeti with these words, I can do that with a short lens if the moment works in my favor. It frees me from really thinking about gear all of the time.” OPENING SPREAD: A giraffe seeks shade, Serengeti National Park, Tanzania. ABOVE: Zebras in a row, Serengeti National Park, Tanzania. RIGHT: A rare color image of the Skeleton Coast, Namibia. FAR RIGHT: Lioness in a tree, South Africa.

story with one photograph or a series of photographs because that’s going to dictate what you shoot and how you shoot it. Now you have to make a deci-sion. I’m kind of both, but I tend to pre-fer the single photograph.”

Since Biggs is striving to tell more complete narratives in single images, he wants to provide context. Context sets the scene, fills in the blanks and helps make a story. Long lenses—the kind that isolate animals without context—generally aren’t part of the narrative.

For Biggs, adjectives are integral to his creative process because they help him quantify what’s working in his pictures. He can analyze that list of descriptors to determine if an image is telling a complex story or a simple one: the longer the list, the better the story. Ultimately, Biggs uses a refined list to help shape his overall visual aesthetic. The adjectives describe the images that excel, and so to make images that form a cohesive body of work, he simply shoots with those adjectives in mind.

“I thought about this for a while,” he continues, “and realized that if I cre-ated a list of adjectives that I wanted all of my images to portray, this might be an easier way of reaching my goal of a cohesive body of work. So I jotted down a long list of words to describe where I wanted to go with my images. I then paired down the list to around 20 words, then 15, then 10. I eventually ended up with five: remote, timeless, hopeful, uplifting, regal. Those words sit in the back of my mind every time I go out into the field. It doesn’t matter if I’m

shooting with medium-format equip-ment, 35mm gear or an iPhone because I always have these adjectives in the back of my mind. How I process these images changes over time as trends and technology change, but it doesn’t matter because I have a clear idea of what I’m looking for and where I’m going.”

As a workshop leader, Biggs’ own creative needs take a backseat to those of his clients who join him on safari. Although he developed his adjective analysis in order to refine his own vision, it’s also how he helps students find their direction.

“That’s definitely the front and center way that I teach photography,” he says. “It’s a bit unconventional, but it’s liberat-ing. It’s just a different way of thinking about how you take your photographs and how you’re shooting. On an African safari, we spend a lot of time in Land Rovers, and it’s a lot of time to have nice, casual, thought-provoking discussions. We talk about that, but we also talk about shapes, we talk about color, we talk about clean versus complicated foregrounds and backgrounds—all the kind of things that support the adjectives. That’s just the way that I like to challenge people into thinking about their photography a little bit differently. The adjective-driven approach isn’t just to keep you on track for a trip. It can be used to keep you on track for a whole body of work that you’ve been shooting for a decade.”

The nuts and bolts of the process are simple. After a trip, Biggs organizes his take in Lightroom and rates his favorites. He then describes each of them with as


many adjective keywords as he can. “The more that I describe in words,”

he says, “the higher correlation that I’m going to put in my portfolio, that I’m going to show people. If the list is kind of boring, it’s one-dimensional, right? I don’t show those words to anybody, ever. It’s more an example of how to articulate and learn from myself and my mistakes. And, usually, when I have a longer list, those are usually the photographs that sell more. It’s a good exercise in learning who you are as a visual person.”

To translate a handful of key adjec-tives into a tangible blueprint, Biggs simply correlates his ideal keywords into real-world elements to target.

“To me,” he says, “remote means lack of human habitation. It’s about telling a story that has a feeling of remoteness. Generally, the best places to photograph wildlife and landscapes are typically not near where people live, right? They’re remote. Okay, so that’s helpful. Timeless is something that makes you think that a photograph could have been taken today, 50 years ago or 200 years ago. Uplifting might be animals that are showing grace. There’s another word I like. Grace is a beautiful word because it’s something you don’t see often, or isn’t praised often

enough. Regal and grace are almost the same thing. Maybe it’s the gesture of how they’re standing or how they’re relating to their peers or to their offspring. You know, an animal that has a head sticking up with an erect neck or a male lion with wind in his face—that’s a pretty com-mon association. That kind of takes me into hopeful. It might be a mother, like a lion licking her little newborn cub. That shows tenderness, and it’s hopeful.”

Armed with his ideal adjectives, Biggs is sure to be working in a proven direc-tion so he’s free to take compositional chances even if they’re not by the book.

Biggs uses black-and-white because it helps to reinforce certain adjectives—particularly, timeless and regal—and because it, too, is creatively freeing.

“Color photography is a box,” he says. “You have to live inside that box because that’s what people expect. And that’s really limiting to me. I find it really frustrating. People can look at your pho-tograph and say, ‘That sky is the wrong color. That’s not believable.’ So now you’re living in someone else’s vision of what believability is. I don’t like that. I cannot stand, in a creative world, being dictated what is normal and what is not. That’s really dangerous and limiting.

Black-and-white is more interpretative, meaning you can do things and alter things in a way that gets you to the end goal without people calling bullshit and saying, ‘Oh, no, that’s not believable.’ Well, you know what, when I take the color away, I’ve now changed the rules of the game. It’s my rules, not yours.

“Here’s the problem, though,” he adds. “When you remove color informa-tion from a photograph, you’re removing visual eye candy. So you have to now rely on other things to make the photo-graph work. Because there’s no color, the shapes have to work, they have to play together a lot better. Otherwise, it’s just pure chaos. Nature is inherently very messy. You’ve got trees, grass, color—all these kind of things everywhere—and as a photographer, you have to figure out a way to make order out of it. I don’t say you have to clean it up; you just have to make order out of it. And how do you do that? It’s hard; it’s really difficult to create order out of chaos, especially in a black-and-white world. Color cannot help you.” OP

Visit www.andybiggs.com to see more of Andy Biggs’ work and to learn about his safaris and workshops.

ABOVE: Three giraffes in the Grumeti Game Reserve, Serengeti Migration Area, Tanzania. Biggs’ use of black-and-white frees his creativity.


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Getting Oriented

Let’s start with a refresher on your college astronomy class. We live in the Milky Way galaxy, which is shaped like a plate, not a sphere. Our solar system lies partway between the center and the rim. The Milky Way is the band of light formed by billions of very distant stars that you see as you look along the galactic plane. You can see the Milky Way every clear, moonless night of the year, but it’s not equally bright in all directions. If you look away from the center of the galaxy, you’re look-ing through a region with relatively

How to shoot the nighttime summer skies with

few stars. If you look toward the center of the galaxy, however, your

line of sight leads past many more stars, so the Milky Way is much brighter and has more interesting structure.

The center of our galaxy and the most photogenic part of the Milky Way lie in the direction of the constellation Sagittarius. Like any celestial object, Sagittarius appears to rise and set as the Earth rotates. Sagittarius is most promi-nent in late spring, summer and early fall, and isn’t visible in winter because it’s only above the horizon during the day.

Photographing The Way

Of all the wonders of

the night sky, the most

spectacular subject for

photographers who lack

a telescope is surely the

Milky Way. The only

hardware required is a

sturdy tripod, a relatively

new DSLR with good

high-ISO capabilities

and a wide-angle lens,

the faster, the better. This

article will provide the

other key ingredient:

the information you

need to make your own

spectacular photos of

the Milky Way.


dramatic, sharp, awe-inspiring results TEXT & PHOTOGRAPHY BY GLENN RANDALL

Even the brightest part of the Milky Way is relatively dim. Get as far away from city lights as possible, and shoot on a clear, moonless night during the interval between astronomical dusk and astronomical dawn, when the sky is as dark as it will get. Programs like The Photographer’s Ephemeris (photoephemeris.com, free for desk-top computers) provide moonrise and moonset times, and the times of astro-nomical dusk and dawn.

The sky is always brightest near the horizon. It gets darker as you look higher into the sky. That’s true at night,

as well as during the day. To make the Milky Way stand out against a dark sky, shoot when Sagittarius is as high in the sky as possible. Sagittarius reaches its highest elevation above the horizon, an altitude of 23º as seen from the lati-tude of Colorado, when it’s due south. As with any landscape, the best Milky Way photographs include more than sky. When planning your shoot, there-fore, think about compositions in which you’re looking roughly south at some-thing interesting. Arches, sandstone tow-ers and dramatic peaks make good land elements. You don’t need to worry about

Single frames capturing portions of the Milky Way are beautiful, but a panorama displaying the galaxy edge to edge is particularly dramatic. This takes some technical mastery using tools like the Really Right Stuff PG-02 Pro Omni-Pivot Package (reallyrightstuff.com) shown at far left. Glenn Randall uses this setup for precise control over the horizontal and vertical movements and PTGui software (PTGui.com) for stitching the images together. The final panorama presents the Milky Way’s full spectacular arch.


foregrounds; the depth of field is so shal-low at the wide-open aperture you’ll be using that you won’t want anything in the frame closer than 20 or 30 feet.

Carina Software’s SkyGazer program (carinasoft.com, $29 download) can tell you when Sagittarius will rise and set, and when it will reach its maximum altitude. After installing the software, open the Window drop-down menu and be sure Time Panel, Location Panel, Display Panel, Info Panel and Sky Chart are checked. Then choose Display > Milky Way, and be sure Show Milky Way and Photorealistic Milky Way are checked. Finally, open the Center drop-down menu, click Constellations, then choose Sagittarius. You can adjust the date and time in the Time Panel.

SkyGazer then will display a view of the sky, including major stars, Sagittarius and the Milky Way. If Sagittarius isn’t initially visible, click Center in the Info panel to display it.

Setting Up

Once you arrive at your chosen loca-tion, you face the next two challenges: focusing and composing at night. Auto-focus is useless; turn it off completely so you don’t accidentally trigger it. Nor can you simply set the lens to the infinity mark. That’s not sharp enough, either. Instead, point the camera toward a bright star, set the lens to infinity to get close to proper focus, engage Live View, magnify the view to 10x and focus manually on a star. You may need

to disable exposure simulation in your Live View menu to actually see a star. Composition is a matter of guess and check, since you can’t see the Milky Way through the viewfinder. Level the camera left to right with a hot-shoe level, point it in approximately the right direction and shoot a test frame. Adjust, as needed, and try again. I use the red LEDs on my headlamp when working at night to let my eyes adapt to the dark as much as possible.

A good starting-point exposure for the Milky Way on a moonless night is 30 seconds, ƒ/2.8, ISO 6400. But here’s the catch: You need a 16mm lens on a full-frame camera to use such a long exposure without the stars forming streaks due to the rotation of the Earth.

Check your astronomical calendars to choose the best nights to shoot the Milky Way. ABOVE: Clear, moonless nights will provide the best opportunity for images with sharp individual stars, and the galaxy will stand out most when Sagittarius is high in the sky.


MORE On The WebFind a huge archive of articles on

the best locations for landscape

and wildlife photography on the OP

website at outdoorphotographer.com.

�

The shorter the focal length, the lon-ger the exposure you can use before the stars move noticeably. Refer to the chart above to determine the longest non-streaking exposure you can use with different focal-length lenses.

Holding detail in the land can be dif-fi cult. You can get some detail in the landscape from starlight, particularly if there’s lots of snow on the ground. To obtain more detail, shoot just before astronomical dusk or just after astro-nomical dawn. The full moon will pro-vide great detail in the land, but it will wash out the stars. A good compromise is to shoot when the moon is 15% to 30% illuminated and providing textur-ing sidelight to the scene. Avoid back-lighting. All of these approaches create a trade-off: brighter land means a dim-mer Milky Way, and vice versa. You can try shooting at ISOs above 6400 if your camera offers them, but the noise may be intolerable. A better, but more labo-rious solution is to shoot a frame with a shutter speed long enough to record detail in the land, ignoring the resulting star trails, then combine the correctly exposed land with the correctly exposed sharp stars from a frame with a shorter exposure. The image on your LCD prob-ably will give you a false impression of how much land detail you’ve actually captured. Go into your menus and turn down the LCD’s brightness, and be sure to check your histogram.

If you’re shooting with a daylight white balance, you may be startled

by the yellow-green color of the sky in your fi rst Milky Way shots. Even on the darkest night, the sky is never completely black. Instead, it exhibits a faint greenish glow caused by a variety of processes high in the atmosphere. We don’t see the night sky as green, of course; in fact, we don’t really see color at night at all. I usually set the color temperature to about 3200 degrees K in Lightroom to restore the blue-black color we imagine the night sky to be.

Milky Way Panoramas

Single-frame photographs of the Milky Way are beautiful, but the Milky Way offers other photographic pos-sibilities, as well. Look closely with dark-adapted eyes, and you’ll see that the Milky Way forms a gigantic arch in the sky that extends from horizon to horizon. This arch is far too large, in an angular sense, to be captured in a single frame, even with the widest rectilinear (non-fi sh-eye) lens. The best way to shoot it is as a stitched panorama with a multi-row panorama head.

Shooting a Milky Way panorama is easiest in the spring just after Sagittarius has risen high enough to be above any foreground mountains. At that time of year, the Milky Way arch is relatively compact. The high point of the arch will be due east and consider-ably lower in the sky when the sky is fully dark and Sagittarius is in the right position than it will be later in the sum-mer. For example, the top of the arch is

roughly 50º above the eastern horizon on April 1 at the ideal time of night, but closer to 90º on September 1.

My favorite hardware for multi-row panoramas of the Milky Way is a Canon EOS 5D Mark III, a Canon 50mm ƒ/1.4 lens and a Really Right Stuff multi-row panorama head (the PG-02 Pro Omni-Pivot Package, $895). The RRS pano head lets me rotate the camera in precise increments both horizontally and verti-cally. Photoshop can’t handle stitch-ing of this complexity, so I use PTGui, which has two major advantages over Photoshop. The fi rst is that PTGui lets you defi ne the grid in which the indi-vidual frames will be placed. You can, for example, tell PTGui that you shot four rows of 10 images each with a 20º pan between images in each row and a 30º pitch in between rows. This infor-mation allows PTGui to create a rough layout of the images. PTGui’s second advantage is that you can add control points manually. Control points, which always come in pairs, mark the identi-cal point in the overlapping portions of two adjacent frames. As with any pan-orama, be sure you use manual expo-sure, focus, white balance and ISO so that the component images will stitch together seamlessly.

Don’t let the technical details of a complex Milky Way shoot overwhelm the experience of being there. Take a moment during the shoot to turn off your headlamp and soak in the beauty of the night sky. It’s the best way I know to truly appreciate the immensity of our universe. OP

Go to www.glennrandall.com to see more of Glenn Randall’s work, sign up for his monthly newsletter, read his blog and learn about workshops.

Camera Settings For The Milky Way

This chart assumes you’re using a full-frame camera such as a Canon EOS 5D Mark

III or Nikon D800. If you’re using a camera with a “sub-full-frame” or APS-C sensor,

multiply the focal length printed on the lens by the appropriate “crop factor” or

“multiplication factor,” then use the result as the focal length for the purpose of this chart.

For example, if you’re using a 16mm lens on a camera with a 1.5 crop factor, multiply 16

by 1.5 to get 24. The longest exposure you can make with that lens without visible star

motion is 24 seconds. Note that this chart assumes you’re viewing a print made at normal

resolution for a high-quality print (fi le resolution of 240 to 300 ppi). If you zoom in to 100%

on your monitor, you’ll see some very short star trails.

Focal length Angle of view (horizontal Angle of view (vertical Maximum shutter speed to avoid

dimension in landscape mode) dimension in landscape mode) visible star motion in a print

16mm 97° 64° 32 sec.

20mm 84° 56° 28 sec.

24mm 74° 50° 24 sec.

28mm 65° 44° 22 sec.

35mm 54° 36° 18 sec.

50mm 40° 27° 13 sec.

85mm 24° 16° 8 sec.

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Lighting NatureUse a little flash, an LED or even

a flashlight to add dimension and

interest to a nature photograph

TEXT & PHOTOGRAPHY BY CHARLIE BORLAND

Available Light And

Supplemental Light

We have no control over out-door (available) light. While we can lighten or darken our exposures, we can’t change

the brightness level of the light that’s available to us. Flash, on the other hand, is supplemental light, and we have full control over it. Flash settings can be adjusted to increase or decrease output

to lighten or darken the subject with-out changing the camera’s exposures for the outdoor light. The advantage of utilizing both available and fl ash light sources for an image is that they can be managed separately. This fundamental concept allows the magic to begin.

Accurate exposure is always a con-cern in landscape photography. Settings can be adjusted for the fl ash just as they can for the camera. The most common

Flash is a powerful tool. It can soften the look

of harsh lighting or it can simulate the sun on a cloudy day.

An external fl ash unit is as sophisticated as the camera it’s

connected to. Flash can provide control over the amount

of light, the spread of light and the angle at which that light

is directed. Wireless triggering allows the fl ash to be off-

camera, moved around a subject or hidden within a scene.

Some outdoor photographers shy away from fl ash

because they fear they will lose the natural look. They

might liken an image taken with a fl ash to blasting light at

a subject and creating that “deer-in-the-headlights” look.

But it doesn’t have to be that way.

Mother Nature does a great job providing light in various

colors and qualities. Not all light is “sweet light,” however.

Many scenes and subjects could benefi t in both great and

subtle ways with a little help from a fl ash.

Once the use of fl ash is mastered, it can become a

formidable ally. By understanding a few principles about

fl ash and how it works with existing light, you can

dramatically improve your nature photography.

strategy is to change the camera’s shut-ter speed to adjust brightness of the outdoor ambient light and to use set-tings on the flash or camera to change the brightness of the flash, and note that in manual flash mode, the brightness is changed with aperture or flash power level settings. The beauty here is the ability to separately lighten or darken the background with shutter speed and lighten or darken the subject by

increasing or decreasing flash output or changing aperture.

Using Flash

Through the Lens (TTL) is fully automatic flash metering. Each time the shutter button is pressed halfway, the flash outputs a pre-flash to measure flash-to-subject distance. TTL can be used in any outdoor situation, and it’s especially suited for moving subjects

or for flash-to-subject distance changes when the photographer is moving.

Manual flash disables the automatic metering and outputs the same amount of light each time the flash is triggered, making this setup perfect for nonmov-ing subjects or when flash-to-subject distance won’t change.

Electronic Through the Lens meter-ing (E-TTL) and Intelligent Through the Lens metering (iTTL) are the

Subjects photographed in overcast light are often missing the necessary lighting contrast that emphasizes form

and texture. To restore that contrast and bring out the details, the flash can be set up as the key light, where the flash is brighter than the outdoor light. Creating a key light effect is simple and achieved by underexposing the ambient light to make the flash appear brighter without changing the flash output. Using -1/3 on the shutter speed will darken the back-ground subtly, while -1 to -2

will be more distinct. This ability to juggle between shut-

ter speed and flash output provides full control over the effect created when mixing flash and ambient light. The background can be lightened or dark-

ened, as desired, using shutter speed, and the flash’s brightness level can be adjusted to create the perfect lighting on the subject.

Modifying Flash Light

We know the sun is a point light source creating light high in con-trast. Often, the shadows are hard-edged with little transition between

shadows and highlights. Like the sun, the flash is also a point light source, and can create shadows and highlights resembling those of the sun. Mother Nature has a great way of softening light from the sun: clouds. When a cloud covers the sun, the size of the sun as a light source increases, and that larger light source produces a softer quality of light.

The same is true with flash. Add a light modifier, and the quality of light softens. Diffusers, mini-light boxes and reflectors are made just for that purpose—to spread out the light and soften it like a cloud over the sun. Modifiers are perfect for subjects close to the flash and camera, like flowers, insects and people.

Quality Versus

Quantity Of Light

A portable flash unit can be our own mini-sun, capable of being positioned anywhere around a subject. But a flash attached to a camera is very close to the same axis as the lens. Subsequently, light emitted by the flash creates

1

equivalent of the camera’s auto-exposure mode. The camera tells the flash to fire a pre-flash, the cam-era measures the exposure and then decides what flash level the output needs to be to provide a correct expo-sure, and the camera tells the flash to fire at this output level.

In auto, the camera guesses what the exposure should be. In E-TTL or iTTL mode, the flash meters the light accord-ing to certain presumptions about sub-ject reflectivity, which determines part of the exposure. E-TTL works with a pre-flash, just before exposure, where the camera meters the flash. The cam-era then will tell the flash how much power to put into the real flash, when the actual exposure occurs. As with all reflective light metering, it’s conve-nient and works well for many subjects, albeit not all of them.

Fill And Key Light

One of the biggest challenges for nature photographers is dealing with the harsh light created by direct sun. High-contrast lighting doesn’t work for every scene, so if the sky is cloudless, there’s not much that can be done. One popular tool to soften the sun’s light is the disc diffuser,

but it covers only small areas close to the camera.

Flash can cover a larger area, adding light to shadows and brightening them without overpowering the ambient light. The flash’s output levels can be adjusted to introduce just the right amount of light into the shadows and lower lighting contrast. A good starting point is a -1-stop reduction in flash output using the Flash Exposure Compensation but-ton on the camera or flash and then fine-tuning in 1/3-stop increments, as needed.

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Inside My Flash Field Kit

My flash field kit includes two flashes

and supporting accessories, including

a Fotodiox 6x8-inch Mini-Softbox or a

Rogue FlashBender and a Rogue Grid. The grid is great

for spotlighting subjects, and a kit of colored gels enables

me to make subjects more colorful.

For sidelighting or backlighting with off-camera flash, I carry

a mini-light stand with a hot-shoe bracket. This allows me to

position one flash around the subject while the second flash

remains in the hot-shoe as the fill-flash.

To trigger off-camera flash, I use radio triggers rather than the

built-in infrared. My favorites include the PocketWizard TT1 and

TT5 or the CowboyStudio non-TTL triggers.

For birds and wildlife, I carry a Better Beamer, which

sends a narrow beam of light a great distance, extending

the flash range.

Finally, the Joby GorillaPod, a flexible camera

tripod, allows for placing the flash in more

precarious locations, such as a tree

branch or the edge of a cliff. 4


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broad highlights with minimal shadows. In that position, the quantity of light output varies based on how it’s used: flash fill or flash key.

On-camera flash, while perfect in many situations, isn’t known as great quality light. Off-camera flash set up in a wireless capacity is less about quantity and more about quality of light. By positioning the flash around the subject, the flash creates highlights and shadows that shape and define the subject, just like the sun defines a landscape.

The creative options don’t end there! The flash can be placed far from the camera and used to selectively light a distant subject or even create light that tells stories. An illuminated tent at dusk tells the story of a warm and cozy campsite, for example. Adding a grid to a flash focuses the output into a narrow beam of light, allowing a selective spotlighting effect that draws attention to specific areas of the scene. Color gels designed to fit on flash units are perfect for adding color to any subject. Pushing creative boundar-ies even more, multicolored light can be applied to a subject using light-painting techniques, transforming any outdoor subject into a kaleidoscope of varied color.

Conclusion

To create beautiful and natural- looking photographs with a creative edge, try using flash as a tool in the same way you’d use a filter or a reflec-tor. Flash can be applied subtly in ways few will notice, and it can be used in a more dominant and commanding fashion. Flash can improve your pho-tography. Once you grasp the simple fundamentals, you’re free to add light to the natural world in a manner that may come to define your style as a photographer. OP

To see more of Charlie Borland’s photography and to order his Outdoor Flash Photography e-book, go to borlandphoto.com.

MORE On The WebGo to outdoorphotographer.com

to see more articles about gear and

techniques to help you create your

own dynamic nature photos.

�

Other Light Sources

In this lighting setup, the off-camera flash and diffuser complement the natural light without overpowering it. By adding highlights and shadows where the natural light lays flat, the flash has created depth and separation from the background while also enhancing details and enriching the purple lupine color.

Before After

The Photo Setup

1

23

1) Petzl TIKKA XP, petzl.com/us

2) Litepanels Croma, litepanels.com/croma

3) Olight S15 Baton, olightusa.com

Charlie Borland is an expert with

using flash outdoors, but that’s

not the only way to add some

extra illumination to a scene.

Continuous light sources like the

Litepanels Croma pictured at right

are compact and lightweight, and

they have the advantage of allowing

you to see the effect as you’re setting

up the shot. In a pinch, you even can

use your flashlight to throw a little

light into a harsh shadow or to kick

up a highlight. If you don’t have a

small flashlight like the Olight S15

Baton shown here, it’s definitely an

addition you should make to your

bag. A lot of photographers like

headlamps such as the Petzl TIKKA

XP because it keeps your hands free.

These sorts of compact flashlights

don’t have a ton of power, but they

can be quite useful for adding just a

touch of fill here and there.

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Frans Lanting sees the world through a specialized lens. Whether he’s photographing rare species, a world-famous biologist or an exten-sive beetle collection, he has the extraordinary ability to turn com-plex science topics into intriguing visual stories. By combining sci-entifi c knowledge with his photo-graphic technique, Lanting creates images that are as much art as they are science. How does he do it?

“I’m interested in the ever-changing relationship between humans and nature and what we’re

Frans Lanting

transforms scenes

of scientific

discovery

into moments

of understanding

and art

learning about the diversity of life,” says Lanting. “I enjoy working with scientists, and I’m intrigued by what they do. Photographing science gives me an alibi to get informed about things that would otherwise sit behind closed doors. And I can cre-ate opportunities for important proj-ects to reach bigger audiences than just those of technical publications.”

While many nature photogra-phers rush outside and hope for something spectacular to unfold before their cameras, Lanting spends a great deal of time research-

BY AMY GULICK | PHOTOGRAPHY BY FRANS LANTING

SEEINGS C I E N C E

ing his stories prior to heading out into the fi eld. To spark ideas, he sifts through voluminous amounts of information available on the Internet, attends symposiums and reads popular science publications including Nature, Science News and Natural History. Once he has decided on a story angle, he digs deeper to fi nd researchers work-ing on particular topics. He then contacts the scientists to discuss their work and begins to formulate visual shooting possibilities.

“If you’re searching for ways to

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oor ographer

And

nv onm

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make different images, let a scientist take you by the hand and lead you into a specialized world with access to unusual places and phenomena,” he says.

While there are many approaches to photographing science subjects and researchers at work, Lanting strives to make images that go beyond a matter-of-fact documentary style. “What happens quite often is that I have to start doing clever things to come up with more interesting ways to visualize somebody’s science project,” he says. “Science isn’t always interesting inherently, and this is where the creativity begins.”

Take, for example, a story about the effects of water pollution on Pacific tree frogs. The pollution causes deformities including an abnormal number of legs to grow on the frogs. How to portray this disturbing topic and the researcher conducting the studies in an engaging way? Lanting made two images, a lit-eral interpretation of the work and a conceptual portrait of the scientist. The first is a close-up shot of three dead, deformed frogs in a petri dish being examined with a pair of tweezers held in the researcher’s fingers. The artistic

composition, use of scale and mood lighting get the viewer’s attention and force the question of why these tiny frogs have more legs than they should. The second image is a serious portrait of the scientist from the perspective of the frogs being examined. Lanting made this photograph by posing the research-er’s face inside a terrarium, placing a petri dish of frogs on top and creating dramatic lighting from all sides. It’s the kind of image that isn’t apparent upon walking into a laboratory and can only be created by thinking outside the box, or inside the terrarium, in this case.

“The more intrigue and mystery that I can introduce, the better the chances are that people will spend time looking at the pictures,” says Lanting.

To transform what would otherwise be mundane photos into images that are much more thought-provoking, Lanting often makes use of props. With a mirror that he carries in his assignment kit, he created an engaging image of a small barcode label attached to a butterfly speci-men. Labeling hundreds of thousands of collected specimens and retrieving data pertaining to each one is a challenge for

scientific institutions that manage com-plex species inventories. The National Biodiversity Institute in Costa Rica has pioneered the innovative use of barcode technology to label and catalog its speci-mens. But instead of just photographing a straightforward shot of an insect with a barcode label, Lanting made a more abstract image by using the mirror. With the scientist’s hand holding an olivewing butterfly and its barcode label against the mirror, the different colorations of each side of the insect are visible, as well as the interesting shapes of the researcher’s reflected fingers.

Sometimes, Lanting finds props in the

field to use in his images. For a photo showing the diversity of land snails found in Hawaii, he used a large tropical plant leaf as a backdrop instead of the museum drawer housing the specimens. The result was a more organic image showing the diverse colors and patterns of the snail shells in a tropical context.

In addition to bringing his own props or finding some on location, Lanting likes to incorporate whatever items researchers are utilizing in the field to conduct their studies. For a story about scientists studying red algae that lives in snow in Mt. Kenya National Park, he made use of a clear plastic bag to cre-ate a portrait of a researcher collecting an ice sample. By posing the scientist holding the bag in front of the sun, the backlit red algae is visible, which high-lights the essence of the work. In addi-tion, by partially obstructing the sun with the sample bag, the high contrast of the scene is minimized.

Not all props are simple, how-ever. For a story featuring Dr. Richard Holdaway, a famous New Zealand sci-entist who studies species extinctions, Lanting wanted to highlight his work

Frans Lanting’s exceptional storytelling abilities with a camera have made him a sought-after photographer by the scientific and naturalist communities. OPENING SPREAD, LEFT TO RIGHT: Biologist Robert Barlow and his assistant track a horseshoe crab after giving the creature its own POV video camera. A re-creation of the giant moa, a genus of flightless birds native at one time to New Zealand before they were hunted to extinction by early tribesmen. Botanist Jamili Nais measures a larger-than-life Rafflesia flower in Borneo. PREVIOUS PAGE: A close-up inspection of Dr. Andrew Blaustein as he looks over deformed Pacific tree frogs in the Northwest. ABOVE: A museum collection of land snails in Hawaii includes several of the multicolored animals that are now extinct. RIGHT: Microbiologist Dr. Karl Stetter tests geothermal pools in Russia’s Valley of the Geysers at Kronotsky Nature Reserve.



involving moa. The moa were nine spe-cies of flightless birds endemic to New Zealand, with the two largest species reaching 12 feet in height and weighing about 500 pounds. It’s believed that most, if not all, species of moa died out by the beginning of the 15th century. Through his research, Lanting discovered his-toric photographs made a century ago of indigenous Maori people in traditional dress posed with life-sized fabricated moa. Lanting tracked down a moa rep-lica in a museum in Dunedin, negotiated permission to move the 10-foot bird to a pre-scouted forest location and then proceeded to deal with the challenges of lighting the scene amid constant rainy weather. The result is striking: A giant moa in its forested habitat being looked at by Dr. Holdaway, the living expert who has come up with the new theory of why the birds went extinct.

“This was a complex undertaking and isn’t the kind of thing to do if you just want to photograph nature as it happens in front of you,” says Lanting. “This particular shoot was a National Geographic assignment involving rights clearances, a produc-tion budget and a handler for the bird.”

Many of Lanting’s assignments involve extensive planning prior to the shoot. A good example is a portrait shot of Dr. Terry Erwin, a prominent ento-mologist and conservation biologist with the Smithsonian National Museum of Natural History. Dr. Erwin’s critical work studying tropical beetles in the

rain-forest canopies of Amazonia has had a significant impact on increasing the estimated number of species on the planet. His beetle collection numbers in the hundreds of thousands, all stored in museum drawers. Lanting wanted to give viewers an idea of how many beetles exist, and the important con-tribution Dr. Erwin has made to their discovery and the world’s biodiversity. He organized transport of many draw-ers from the Smithsonian collection to a place where he could construct a set with tables, studio lights and a projection screen. The final image shows Dr. Erwin with a beautifully lit assortment of bee-tles in drawers against a rear-lit projected image of an Amazon rain-forest canopy.

While it’s one thing to plan and execute a photograph like the beetle collection in a controlled studio setting, it’s quite a different undertaking to pull off a compli-cated shoot in the field. For a story on the extraordinary journeys of Laysan alba-trosses, Lanting teamed up with research-ers using state-of-the-art science to track the distances and routes of individual birds. A satellite transmitter outfitted on a bird beams signals of the animal’s whereabouts, which are then downloaded and overlaid on a Google Earth map. The results on a computer screen tell a visual story of this remarkable avian navigator that can fly 7,500 miles in one forag-ing flight, spending weeks at sea before returning to feed its hungry chick. But how to portray this in a single photo-graph and get a sense of the journey, the

bird and its habitat, and the research? Lanting placed a laptop computer showing a bird’s mapped route in front of a nesting albatross in the Northwestern Hawaiian Islands and posed two researchers in the background. Using a carefully calibrated mix of strobes and ambient light, he had less than 15 minutes to execute the image in order to balance the artificial light with the computer screen and the setting sun.

“The albatross photograph was a com-plicated conceptual image, and unless you think of such an idea beforehand, you’re not going to be prepared in the field,” says Lanting.

But not every shoot has to be so involved. Images like his Hawaiian land snails arrangement required just a tri-pod, lighting and access to a museum. In the field, he used an umbrella to photo-graph two soggy researchers in the rain observing rare lemurs in Madagascar.

Most of Lanting’s science photographs depend on the willingness of researchers to be a part of the images. But scientists aren’t professional models, they aren’t always comfortable being photographed, and they’re often pressed for time.

“If you show a genuine interest in someone’s work, you’ll be surprised how much time he or she is willing to give you,” says Lanting. “I try to have some ideas scoped out in my head, if not already scripted as sketches. I start with the simple pictures that I know I can do. Then I get more ambitious depending on how much time I have and how cooperative the researchers

PREVIOUS PAGE: Conservationist Eduardo Nycander examining a blue-and-yellow macaw chick in Peru’s protected Tambopata National Reserve. LEFT: Earth to albatross. A researcher holds a satellite transmitter that will track the activity of the threatened Laysan albatross as it makes the trek from Midway Atoll on the Hawaiian Leeward Islands.



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SEEING SCIENCE

are. I try to take it as far as I can go.”To show his appreciation for their

cooperation, he offers to make avail-able a selection of images that scien-tists can use in their own presentations. With a vested interest in the outcome, researchers view the effort to make the photographs an equitable endeavor.

Lanting has a keen eye for photo-graphing scientists in the context of their work, whether in the field or in a laboratory. He teetered on a tree plat-form at a dizzying 70 feet above ground to document a researcher examining a blue-and-yellow macaw chick in Peru’s Tambopata National Reserve. For a portrait of a scientist studying tuatara reptiles endemic to New Zealand, he posed her in her laboratory holding a live specimen against a backdrop of illuminated lizard-shaped X-rays.

Perhaps no living scientist today has contributed more to the knowledge of life on earth than evolutionary biologist E.O. Wilson. How did Lanting approach photographing this luminary who, through his study of tiny ants, has had such an enormous impact on the under-standing of the natural world? “We met in a park, and I asked him to bring the tools of his trade,” he says. “E.O. Wilson is a world-famous scientist, and yet his field kit is just a little shoulder bag with a plant scoop and a couple of other simple things. I thought this was revealing.”

The final image of Wilson sitting in a forest with a notebook and the most basic of tools spread before him speaks to the essence of science. Curiosity. Observation. Pushing the limits of knowledge. And just as scientists pursue their quest for understanding the world, Lanting continues to push the boundar-ies of making images that show what they do, and why it’s important. OP

See more of Frans Lanting’s work at www.lanting.com. See more of Amy Gulick’s writing and photography at www.amygulick.com.

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Get Ready For

PRIME TIME

You can get improved speed, sharpness and a compact size in prime lenses, but

BY THE EDITORS

Zoom lenses are especially popular because they provide a wide range of focal

lengths in a single unit, you can change focal lengths with the twist of a wrist (with

no need to physically change lenses and allow dust to enter the camera to settle

on the sensor assembly), and a lot of entry-level zoom lenses are available at low

prices. But there’s a lot to be said for prime (fi xed-focal-length) lenses, as well.

Lens designers have to deal with issues that can reduce a lens’ optical

performance—spherical aberrations, chromatic aberrations, coma, distortion,

fl are, ghosting, astigmatism, curvature of fi eld and more—all the while trying to

keep down cost and bulk. Each focal length has its own collection of optical

challenges. It’s a lot easier to correct everything for a single focal length than for a

whole range of focal lengths, so prime lenses in a given price range tend to have

better optical performance than similarly priced zooms. Today’s better zooms are

excellent and widely used by pros, but today’s better prime lenses are, well, better.



what d ocal-length lenses.


LEFT: Zeiss Touit 12mm ƒ/2.8 and 32mm ƒ/1.8 lenses

BELOW, TOP TO BOTTOM:Tokina AT-X 100mm ƒ/2.8 PRO D Macro; Tamron AF 90mm ƒ/2.8 Di SP A/M Macro; Canon EF 50mm ƒ/1.2L USM

Lens Speed

One advantage prime lenses have over zooms is that they can be faster, i.e., have wider maximum aper-tures. The fastest zooms have maxi-mum apertures of ƒ/2.8, while there are many prime lenses that open up to ƒ/1.8, ƒ/1.4, ƒ/1.2 and even faster (the recently introduced HandeVision IBELUX 40mm has a maximum aper-ture of ƒ/0.85!). Faster lenses are advan-tageous in dim light and when you want to really limit depth of fi eld to focus the viewer’s attention on a specifi c portion of a subject or scene.

Of course, fast lenses are bulkier and more costly than slower ones. The ƒ-number is the focal length divided by the diameter of the effective aperture: ƒ/4 means the aperture diameter is one-quarter the focal length of the lens, 25mm for a 100mm lens. An ƒ/1.4 100mm lens would have to be large enough to accom-modate an effective aperture diameter of 100/1.4 = 71mm, nearly three inches. (That’s why there aren’t any 500mm ƒ/1.4 lenses; that would require an effec-tive aperture diameter of 500/1.4, or 357mm, more than 14 inches.)

Larger elements cost more to produce than smaller ones, and it’s harder to cor-rect various aberrations in large-aperture lenses. So fast lenses do tend to be more costly, and sometimes not as sharp wide-open as slower lenses of equivalent focal length and level (entry-level, mid-range, pro). There are times when an ƒ/1.4 lens may be better than a slower one, and vice versa. You have to consider the types of shooting you do and choose lenses that work for situations.



Prime Thinking

One advantage of a zoom lens is that it lets you change the framing of a scene without having to move closer or farther away. This can be especially handy when you can’t physically move closer or farther back, as when stand-ing near the edge of a canyon cliff or on the sidelines at a sporting event. But moving closer or farther away produces a different effect than just changing the focal length: Moving closer or farther away changes the perspective, while just changing the focal length does not.

When you use a zoom lens, you know that you can easily change focal length, so you tend to stay in one spot and zoom to compose. With a prime lens (or several prime lenses), you either have to take more time and trouble to change focal lengths, or you have to move closer or farther away to change

perspective effect. Merely zooming from a single spot won’t change the perspective; it just changes the framing.

You can prove this to yourself with a simple experiment. Set up your camera on a tripod and compose a scene with a wide-angle lens. Then just remove the wide lens and attach a longer one, and take another shot. (If you have a wide-range zoom lens, you can use the short and long ends of that instead of switch-ing primes.) The long-lens shot takes in less of the scene, and everything in the frame appears larger, but the per-spective doesn’t change: The apparent distances between objects in the scene remain the same. To prove this, just blow up the middle of the wide shot on-screen so it covers the same area as the long-lens shot. You’ll see that the per-spective is identical.

If you want to change the perspec-

�� Go to outdoorphotographer.com to see our comprehensive list of all the prime lenses currently available.

TOP: Olympus M.Zuiko Digital D+ED 75mm ƒ/1.8ABOVE: Nikon AF-S Nikkor 35mm ƒ/1.8G

the composition. Moving close with a short-focal-length lens can produce a dramatic expanded-perspective effect, while moving far away and zero- ing in on a subject with a long lens can produce a “stacked” compressed-

For Full-Frame DSLRs Elements/ Max. Filter DxL Est. Street

(can also be used with APS-C DSLRs) Groups MFD Magnif. Size (in.) Weight Price Mounts

Canon EF 24mm ƒ/1.4L II USM 13/10 9.6 in. 0.17X 77mm 3.4x4.0 22.9 oz. $1,749 Ca

Nikon AF-S 24mm ƒ/1.4G ED 12/10 9.8 in. 0.18X 77mm 3.3x3.5 21.9 oz. $2,199 Ni

Sigma 24mm ƒ/1.8 EX DG ASP Macro 10/9 7.1 in. 0.37X 77mm 3.3x3.1 17.1 oz. $549 CaNiPeSiSo

Sony Zeiss Distagon 24mm ƒ/2 ZA SSM 9/7 7.4 in. 0.29X 72mm 3.1x3.8 19.6 oz. $1,299 So

Canon EF 24mm ƒ/2.8 IS USM 11/9 7.8 in. N/S 58mm 2.7x2.2 9.5 oz. $599 Ca

Nikon AF 24mm ƒ/2.8D 9/9 1.0 ft. 0.11X 52mm 2.5x1.8 9.5 oz. $394 Ni

Canon TS-E 24mm ƒ/3.5L II 16/11 8.3 in. 0.34X 82mm 3.5x4.2 27.5 oz. $2,199 Ca

Nikon PC-E 24mm ƒ/3.5D ED 13/10 8.4 in. 0.37X 77mm 3.2x4.3 25.7 oz. $2,199 Ni

Canon EF 28mm ƒ/2.8 IS USM 9/7 8.9 in. 0.20X 58mm 2.7x2.0 9.2 oz. $549 Ca

Nikon AF 28mm ƒ/2.8D 6/6 10.2 in. 0.18X 52mm 2.6x1.8 7.2 oz. $289 Ni

Voigtländer 28mm ƒ/2.8 Color-Skopar SL II 7/5 8.6 in. 0.20X 52mm 2.5x1.0 6.3 oz. $529 Ni

Voigtländer 28mm ƒ/2.8 Color-Skopar SL II 7/5 8.6 in. 0.20X 52mm 2.8x1.1 8.1 oz. $529 Ca

Canon EF 35mm ƒ/1.4L USM 11/9 1.0 ft. 0.18X 72mm 3.1x3.4 20.5 oz. $1,479 Ca

Nikon AF-S 35mm ƒ/1.4G 10.7 11.9 in. 0.20X 67mm 3.3x3.5 21.2 oz. $1,799 Ni

Sigma 35mm ƒ/1.4 DG HSM / A 13/11 11.8 in. 0.19X 67mm 3.0x3.7 23.5 oz. $899 CaNiPeSiSo

Sony 35mm ƒ/1.4 G 10/8 1.0 ft. 0.20X 55mm 2.7x3.0 18.0 oz. $1,399 So

Zeiss Distagon T* 35mm ƒ/1.4 ZF.2 11/9 11.7 in. 0.20X 72mm 4.7x3.1 29.3 oz. $1,843 Ni

Zeiss Distagon T* 35mm ƒ/1.4 ZE 11/9 11.7 in. 0.20X 72mm 4.8x3.1 29.9 oz. $1,843 Ca

Nikon AF-S 35mm ƒ/1.8G ED 11/8 9.8 in. 0.16X 58mm 2.8x2.8 10.7 oz. $599 Ni

Canon EF 35mm ƒ/2 IS USM 10/8 9.5 in. N/S 67mm 3.1x2.5 11.8 oz. $599 Ca

Nikon AF 35mm ƒ/2D 6/5 10.2 in. 0.24X 52mm 2.5x1.7 7.2 oz. $389 Ni

Zeiss Distagon T* 35mm ƒ/2 ZF.2 9/7 11.7 in. 0.19X 58mm 3.8x2.5 18.7 oz. $1,117 Ni

Zeiss Distagon T* 35mm ƒ/2 ZE 9/7 11.7 in. 0.19X 58mm 3.9x28 20.1 oz. $1,117 Ca

Canon EF 50mm ƒ/1/4 USM 7/6 1.5 ft. 0.15X 58mm 2.9x2.0 10.2 oz. $399 Ca

Nikon AF-S 50mm ƒ/1.4G 8/7 1.5 ft. 0.15X 58mm 2.9x2.1 9.9 oz. $484 Ni

Pentax FA 50mm ƒ/1.4 7/6 1.5 ft. 0.15X 49mm 2.5x1.5 7.8 oz. $449 Pe

Sigma 50mm ƒ/1.4 DG HSM / A 13/8 1.3 ft. 0.18X 77mm 3.4x3.9 28.7 oz. $949 CaNiSiSo

Sigma 50mm ƒ/1.4 EX DG HSM 8/6 1.5 ft. 0.14X 77mm 3.3x2.7 17.8 oz. $399 CaNiSi

Sony Zeiss Planar T* 50mm ƒ/1.4 ZA SSM 8/5 1.5 ft. 0.14X 72mm 3.2x3.6 18.3 oz. $1,399 So

Sony 50mm ƒ/1.4 7/6 1.5 ft. 0.15X 55mm 2.6x1.7 7.8 oz. $449 So

Zeiss Planar T* 50mm ƒ/1.4 ZF.2 7/6 1.5 ft. 0.15X 58mm 2.7x2.6 11.6 oz. $725 Ni

Zeiss Planar T* 50mm ƒ/1.4 ZE 7/6 1.5 ft. 0.15X 58mm 2.8x2.8 13.4 oz. $725 Ca

Key:

MFD: Minimum focusing distance at maximum focal length

Max. Magnif.: Maximum magnification; 1.0X equals life-size, 0.25X equals ¼ life-size (at the image plane)

N/S = Not stated by manufacturer

Mounts: Ca = Canon EF; Ni = Nikon F; Pe = Pentax K; Si = Sigma SA; So = Sony A

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MORE On The WebGo to outdoorphotographer.com for

more in-depth articles on lenses and lens

technology, as well as comparison charts

on available models.

�

tive—the spatial relationships among the objects in the scene—you have to move the camera. Moving close expands perspective; moving farther away compresses it. Wide-angle expan-sion occurs because we generally use wide-angle lenses at close range, and telephoto compression occurs because we generally use long lenses from far-ther away.

The point here is that using a zoom might make you “lazy”: If you want to change the framing, you’ll just turn the zoom ring rather than use your feet. If you do this, you’ll miss out on some dynamic possibilities. And a prime lens can also give your creative muscles a good workout: When you have just one focal length, you’ll soon think and see differently than if you go out knowing all you need to do is twist your wrist to go from wide to tele view.

Matching Lenses To

Your Camera Format

Digital cameras come with a vari-ety of sensor sizes, and this affects the field of view of a given focal length. Since DSLRs originally were adapted from 35mm SLRs, photographers generally think of DSLRs with sen-sors the same size as a 35mm image frame (36x24mm) as full frame. APS-C DSLRs have smaller sensors, around 23.6x15.7mm. These crop into the image produced by the lens at the cam-era’s image plane, such that a given lens used on an APS-C camera frames like a lens 1.5X longer on a full-frame DSLR (or 35mm SLR). For example, a 100mm lens on an APS-C camera frames like a 150mm lens on a full-frame camera. Micro Four Thirds cameras have even smaller sensors—17.3x13.0mm—and a 2X crop factor: A 100mm lens on an MFT camera frames like a 200mm lens on a full-frame camera.

Makers of smaller-than-full-frame cameras offer some lenses that were designed for those formats. The advan-tages of these lenses are that they can be smaller than full-frame lenses (they don’t have to cover as large an image area), and they can be designed to deliver light more directly to the active image area. The disadvantage is that the major DSLR makers—Canon, Nikon and Sony—don’t offer many such lenses in prime (single-focal-length) form. Canon offers one APS-C prime (the EF-S 60mm ƒ/2.8 Macro),

Nikon offers four (the AF DX 10.5mm ƒ/2.8G fisheye, AF-S DX 35mm ƒ/1.8G normal, AF-S DX 40mm ƒ/2.8G Micro and AF-S DX 85mm ƒ/3.5G Macro), and Sony offers three (the DT 30mm ƒ/2.8 SAM Macro, DT 35mm ƒ/1.8 SAM normal and DT 50mm ƒ/1.8 SAM portrait tele). All of their other APS-C lenses are zooms. You can use their full-frame lenses on their APS-C cameras, of course, but those tend to cost and weigh more than APS-C lenses would. Pentax offers a wider selection of APS-C primes—more than a dozen—primarily because they don’t make a full-frame DSLR; all their DSLRs are APS-C.

The widest range of focal lengths is available for full-frame DSLRs (and these lenses can, as mentioned, also be used on APS-C DSLRs from their manufacturers). Canon, Nikon, Sigma and Sony all offer prime lenses in focal lengths from fisheye to supertele-photo. (Sigma’s DSLRs are all APS-C, but Sigma also makes a wide range of lenses for Canon and Nikon DSLRs, and many for Sony and even some for Pentax DSLRs.) If you use a full-frame DSLR, you have a wide choice of prime lenses available.

Micro Four Thirds also does well in MFT prime lens selection, with 16 primes offered by camera makers Olympus and Panasonic, and more in MFT mounts from third-party manu-facturers. Full-frame mirrorless cur-rently lags in terms of AF primes. There are only three full-frame mirrorless cameras (the Sony a7, a7R and a7S) and two Sony/Zeiss primes (the 35mm ƒ/2.8 wide-angle and 55mm ƒ/1.8 nor-mal). APS-C mirrorless has a wider selection of native AF prime lenses. Due to the short flange-back distance of mirrorless cameras, a tremendous vari-ety of lenses designed for other cameras can also be used via adapters (see the “Lens Adapters” sidebar).

Leica’s M-series rangefinder cam-eras are “mirrorless,” and Leica offers a good selection of manual-focus prime lenses for them (18mm through 135mm focal lengths). Third-party M-mount lenses provide a wide range of less costly alternatives. OP

Lens Adapters

Lens adapters let you use

lenses that weren’t made

for your camera, greatly

expanding your range of lens choices.

Adapters range from simple metal

rings with a camera mount on one

side and a lens mount on the other

to elaborate devices containing

electronics, glass elements and even

a phase-detection AF system.

Because of their short flange-

back distances (the distance from

the lens mount to the image plane in

the camera body), mirrorless digital

cameras can use any lens for which

an adapter can be found. (DSLRs are

thicker, and if you add an adapter, the

attached lens may not focus out to

infinity unless the adapter contains

glass elements, which add cost and

could affect optical performance.)

Most mirrorless camera makers offer

adapters to attach popular lenses

to their bodies, and there are lots of

third-party adapters available on eBay

and the like. Do some online research,

because if the adapter’s front and rear

mounts aren’t perfectly parallel, image

quality could suffer.

Adapters of special note are Sony’s

LA-EA4 and the Speed Booster from

Metabones. The LA-EA4 lets you use

Sony A-mount DSLR lenses on

E-mount mirrorless cameras, and

incorporates an SLT phase-detection

AF system similar to the one in the

SLT-A65 DSLR. The Speed Booster is

sort of a reverse teleconverter. Where

the latter spreads the image from the

lens, making it larger and less bright,

the Speed Booster concentrates the

image, making it smaller and brighter.

Yes, a teleconverter costs you lens

speed, but the Speed Booster actually

increases it. Put a 35mm ƒ/2.8

full-frame lens on an APS-C camera

with a Speed Booster, and it effectively

becomes a 25mm ƒ/2.

Note that simple ring-type adapters

merely let you attach the lens; they don’t

provide autofocusing, or in most cases,

even auto-diaphragm control. Live View

can be useful when using them, allowing

you to zoom in and focus right on the

LCD monitor. A magnifying loupe (and

tripod) can be very helpful here.

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How Stan Moniz creates supersharp,

hyper-colorful wave photographs

BY WILLIAM SAWALICH | PHOTOGRAPHY BY STAN MONIZ

The

make his way back to the beach—this time in California—and refocus his cre-ative energy on the water.

Like many aspiring wave photogra-phers, Moniz started shooting with a GoPro camera. Unlike most, though, he quickly found the versatility and image quality lagging behind his rapidly improving skill set. He upgraded to a Sony NEX-5N and considered it a revela-tion, even though he was using a make-shift waterproof housing found on eBay. When the budding photographer was introduced to Alan Love, owner of hous-

ing maker AquaTech, it changed his life. “Right before the Nikon D7100 came

out,” Moniz says, “Alan said, ‘Get the camera, and we’ll get you a housing.’ I shoot with a Nikon D7100 now, and my housing is an AquaTech Compac. The NEX-5N was awesome, but just hav-ing a camera with a larger sensor and no optical low-pass filter, the color spec-trum was off the chain! So much more life in color and vibrancy. The images seemed more true to the moment. That change helped me grow and develop into the type of photographer I am today.”

NNot many people can claim “rock star” as their fallback career, but when Hawaiian native Stan Moniz left for the mainland in 2000 to spend a decade touring with his band National Product, the self-proclaimed “water baby” was forced to set aside his photographic aspirations and leave the ocean behind. Prior to signing with a major label, Moniz was an amateur photographer and a professional bodyboarder—a nat-ural choice for a kid who spent all his free time in the surf. So when his band called it quits in 2010, Moniz was free to


>> Ho 2

Love introduced Moniz to Greg Napoli from Kenko Tokina USA, who was so impressed with the photogra-pher’s energy that he offered to loan him any lens he wanted. While many of his colleagues rely on fi sh-eyes, Moniz made a calculated choice to set his work apart.

“Everyone shoots with the fi sh-eye,” he says, “but I wanted to be different, so I got the 11-16mm. I stayed away from that fi sh-eye look specifi cally to force myself to create something new that not many are going after.”

Up for a challenge, Moniz also uses

a telephoto in the surf, the Tokina AT-X M100 macro. He uses it to isolate the beautiful details of curling waves and for the depth created with a soft background.

“I like being different,” Moniz says, “and doing different stuff. Over the last year, I’ve started using the 100mm macro. Once I got it, I was, like, holy moly. It’s an old lens, but I love it. I like the super-soft bokeh background, so I’ll go down to ƒ/2.8 if I can. In the morning, I’ll start at 1/1600th at ISO 100, and that will give me ƒ/2.8. I like that look, the pop. It looks really three-dimensional. There’s so much texture to the back-ground, it looks like patterns. It looks like you can touch it. It looks painted.

“With the 100mm, I’m in autofocus,” he notes. “This is the cool thing about the Compac housing: It has a pistol grip with two buttons. The top button is an autofocus track button. I’ll always put my focus point a little off to the right. I never center anything; it’s a Rule of

The perpetual motion of waves falling on the shores of lakes and oceans around the world gives you an opportunity to explore abstract shapes and colors while experimenting with composition and form. The refl ective qualities of water are exceptional for capturing repetition in the colors and shapes of the surroundings and atmosphere. At the same time, the leading lines of concentrically closing waves often create a dynamic natural frame for wildlife, surfers, landscapes, coastal subjects and sunsets or sunrises.


Thirds kind of deal. So I track the wave on the top, so it locks it, and then I start firing with the bottom button. My cam-era shoots six frames per second. With the 100mm lens, there’s more technique, but the photos are just remarkable.”

Moniz says his two favorite lenses require distinctly different shoot-ing techniques. “With the 11-16mm,” Moniz explains, “you have to have a housing with a flat port because a dome port has distortion. I put the 11-16mm in manual focus, measure three feet and lock it. That’s basically the sweet spot for water photography. With a wide-angle, you don’t want anything below ƒ/5.6 because it’s just too soft. I always stay between ƒ/7.1 and ƒ/11. That’s my sweet spot. I’ll never go over 1/1200th shutter speed. You don’t even need to go over 1/1000th; that stops the wave enough. I usually shoot between 200 and 400 ISO to keep my aperture between ƒ/7.1 and ƒ/11, and I’m always in shutter priority. The other secret that a lot of people don’t know is exposure compensation. A lot of people don’t like shooting into the sun at sunrise because it gets blown out. I tell these guys to drop their exposure compensation by two-thirds. That boosts your aperture. And if you overexpose, that’s going to bring your aperture down. Even on foggy days, I’m always at two-thirds.”

Because rich color is so important, Moniz frequently uses a Speedlight in an AquaTech Strike housing to drop the ambient exposure and deepen the inten-sity of sunrise and sunset color.

“You kind of get burned out shooting with the same kind of lens in broad day-light,” Moniz says. “Every wave is differ-ent, and I want to get more different. Like the ‘Lime Wedge,’ that was shot during a beautiful sunrise, but I used the SB-900 Speedlight. A lot of people will high-power everything, but that’s not the trick. You’ve got to down it two-thirds or even a full stop. You’re gonna kill the ambient light if you’re too high. I’ve kind of got that down now, and my camera syncs at 1/320th, but I can go up to 1/1000th or even higher because it’s a Speedlight. I use the rear sync, too, and it’s stopping everything. I’ll play with the exposure because I have it on TTL. I’ll play with the exposure as the sun gradually comes up because I want the sunrise and sunset colors to be really pronounced and satu-rated. I don’t like to do too much post. Before, I used to do way more post than I’m doing now. I think it’s just because I know my settings now.”

Back on dry land, Moniz runs his RAW images through a fairly straightforward postprocessing routine. While his images are saturated and detailed, he’s careful to retain the reality of the waves and light.

“I used to be so crazy with the GoPro,” he says. “You’d have to do all these dif-ferent layers to mask the bad resolution and stuff. But in post now, basically I’ll go to Curves and increase contrast and play with it from there. There’s an S curve in there, that’s one of the best ones. And then I’ll go to Vibrance, especially on a gloomy day. I won’t overdo it. When you can tell it’s looking fake, that’s when you pull it back. I won’t go past 20 or 25 with the Vibrance unless it’s a really dark day. And I keep the Saturation at 0.

“With the 11-16mm, you still some-times get soft focus,” Moniz adds, “so I’ll duplicate the layer and do a High Pass filter. I’ll set it at a Radius of about 3.0, and then I’ll switch the layer mode to Overlay and bring the opacity down, probably never over 50%. That brings out insane detail. But sometimes it can look too fake. Sometimes people like that surreal look. I like it more real. It’s very easy to cross that boundary.” OP

See more of Stan Moniz’s dynamic wave

photography at www.stanmoniz.com.

Photographer and bodyboarder Stan Moniz has made a career in and around water. He avoids the typical fish-eye look in favor of a more standard wide-angle view to incorporate more of the environmental surroundings. He also uses a telephoto macro lens to challenge himself compositionally.

http://www.stanmoniz.com


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IIn the last year, the popularity of fl ying a small remote-controlled drone that’s capable of lifting a GoPro camera has literally taken off. Most nature photog-raphers have, by now, most likely seen a photo or video that was created by one. Perhaps you’ve even observed someone fl ying one at your local park or during your last photography outing. The aer-ial photo opportunities using this new technology are exciting and limitless, but not without a signifi cant investment of time and money.

The challenge of learning to fl y a multirotor is one that most photogra-phers will enjoy and soon feel comfort-able doing. The initial gee-whiz novelty of fl ying eventually will be replaced by the more lofty ambition of using the aircraft as a photographic tool. These initial attempts will no doubt be disap-pointing to anyone who feels like they already know how to use a camera, but just try to remember that you’re learning an entirely new way of creating images.

After less than a month of fl ying a GoPro on my fi rst remote-controlled quadcopter, I decided that I needed to

Shooting From

In this installment of

our occasional series

on aerial drone

photography, Jon

Cornforth discusses

taking larger and

more sophisticated

cameras into the air

with larger and more

sophisticated drones


upgrade to a larger aircraft that would be capable of lifting a high-resolution cam-era. I scoured the Internet for information and learned that I’d need to fl y a much larger multirotor. I also started to realize that my budget might not meet my ambi-tions. In order to lift even a small DSLR, I’d need to fl y a hexacopter or octocop-ter with heavy lift motors, large lithium-polymer (lipo) batteries and a camera gimbal. I found a few companies online that sold ready-to-fl y (RTF) multiro-tors, but at a cost of between $6,000 and $10,000. Feeling discouraged, I started entertaining the idea that I could afford to buy all the parts myself and build my own hexacopter, which is exactly what I did. In full disclosure, I have an engi-neering degree, but didn’t know how to solder a connection when I made this naïve decision.

I also considered several factors that helped me defi ne my multirotor’s mis-sion parameters and helped set my expectations about what’s possible. Since I travel extensively as a profes-sional photographer, I knew that my system needed to be transportable. I

looked for an airframe that could easily fold up without requiring much disassem-bly. It needed to fi t com-

pactly into a hard case that could survive monthly trips to

the airport and in the baggage hold of a commercial airplane. This led me to consider a 700mm diameter hexacop-ter over an 800mm or larger model. This medium-sized aircraft would also use lighter and more affordable motors, electronic speed controllers and 4S lipo batteries over heavier 6S lipos. The airframe that I’ve been suc-cessfully using the longest is the Tarot 690, which costs less than $200, is all carbon fi ber, and when fully assem-bled, the rotor arms and legs quickly

TEXT & PHOTOGRAPHY BY JON CORNFORTH

>> How2


fold together. The motors, electronic speed controllers and propellers that I’m using cost about $75 per arm.

I concluded that if an accident were inevitable, I’d be unhappy about losing a $1,000 camera and lens, but at least not devastated by crashing my $5,000 5D Mark III. So, I settled upon flying a small, relatively affordable camera like the Canon EOS Rebel SL1. Eventually, I started using a lighter and more compact Canon EOS M mirrorless system. In the pursuit of flying an even lighter-weight camera, I’ve recently started using a Sony NEX-5 camera with a 16mm pan-cake lens. All of these cameras have APS-C sensors, which produce incredi-bly detailed 16- to 18-megapixel images.

LEFT: My hexacopter’s center hub is where all the components of my flight control system are located. The large center cube is my XAircraft SuperX flight controller, which contains the accelerometers that allow my copter to maintain its orientation. My black Futaba receiver with all those colorful wires coming out of it is connected to my SuperX I/O module underneath. When I give an input command from my radio remote control, this is where it’s received and processed. Also shown are my SuperX LED indicator, which blinks specific color patterns related to the flight mode and number of GPS satellites, the bottom of my GPS compass, and my OSD, which outputs my aircraft’s in-flight data via the wireless video transmitter (not shown). I personally attached every screw and plugged in every wire myself, which gives me intimate knowledge of my copter when troubleshooting.

BELOW: This dramatic image of Lumahai Beach on Kauai’s North Shore was created by flying my hexacopter and Canon EOS M camera approximately 250m offshore and 50m in the air. The unique perspective offered by flying a drone is more intimate than what would be possible from an airplane or a helicopter. I used my Canon EF-M 11-22mm ƒ/4-5.6 IS STM at 13mm, which is comparable to a 21mm full-frame lens. I also used my Singh-Ray LB Warming Polarizer; I have to guess at the proper rotation required to polarize the scene and then keep from rotating during flight by using a small piece of duct tape. Before takeoff, I set my camera to shutter priority mode at 1⁄500 sec. to eliminate camera movement and copter vibration, and selected ISO 200. Once I composed this scene, I was able to hover for about eight minutes during which I remotely triggered my camera as the waves crashed against the rugged shoreline and the sunlight illuminated the lush green hillside.(Cont’d on page 91)

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Traveling to a location like

Antarctica on a dedicated pho-

tographic expedition requires a

little more thought about equip-

ment and accessories than your aver-

age photography outing. You have to

bring the essential equipment you’ll

need without getting overly weighed

down. Between the challenges of travel-

ing by plane, train and automobile, and

having the right array of gear to take

advantage of all of the opportunities,

striking the ideal balance can be

achieved through careful planning. � Camera Equipment: What camera

equipment you choose to bring with you is a personal decision and will depend on your fi nal output needs. Personally, I travel with two 35mm Digital SLR Pro camera bodies and a range of cam-era lenses, from 17mm wide angle all the way to 600mm telephoto. The land-scape, wildlife and macro opportunities in Antarctica are diverse and varied, and a number of different focal length lenses are recommended. It’s possible to shoot

side by side with other photographers using totally different focal lengths; much will depend on your personal preference.

I strongly recommend you bring two cameras to safeguard yourself against the possibility of camera fail-ure. Although we’ll take precautions against cold, rain and seawater damage, there’s always the possibility of general mechanical breakdown, and there’s no opportunity to visit a camera store once we’re underway on our journey. Having two DSLR camera bodies that take the same lenses is the best option, as this allows you to use two bodies simultane-ously to save you from switching lenses too often. This is especially useful in inclement weather when it’s more dif-fi cult to change lenses in the fi eld.

� Lenses: For your DSLR body, I recommend lenses from 16mm (wide) up to 300mm (telephoto). A 16-35mm or 14-24mm lens, for example, is a good addition to your camera bag to help you capture the grandeur of our destinations and will provide you with a good focal

range when photographing from Zodiacs. Generally, you’ll want wider-angle lenses when shooting from Zodiacs and longer lenses when shooting from the ship.

There may also be times when you’ll want a little more reach than 300mm for wildlife photographs, so a 1.4x or 2x extender/teleconverter for your longest lens is recommended. A macro lens is also nice if you have an intended use, although a couple of extension tubes are a very good lightweight alternative.

Stabilized lenses or a camera body with built-in stabilization can be very useful and are recommended wherever possible. We shoot landscapes and wild-life handheld from the deck of the ship or Zodiacs, and the stabilization signifi -cantly helps to reduce camera shake.

� Tripods: A tripod isn’t strictly nec-essary, but it’s advisable and can be used to help stabilize long lenses on board the ship. A tripod will also be useful for land-scape photography when we’re ashore.

� Protection: It’s likely at some point that we’ll be exposed to rain or sea

Featured Tour

Antarctica: What’s In The Bag

| 2014 |

How to gear up for a far-off wonderland of photo opportunities

TEXT AND PHOTOGRAPHY BY JOSHUA HOLKO



and click on Classes, Tours & Workshops

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� Camera Bags: You’ll need a cam-era bag for transporting your equipment to and from the expedition, as well as onshore landings via Zodiac. It’s not recommended to bring or wear a shoot-ing vest, as it will get in the way of the life jacket you must wear.

Sling-style bags can be useful when we go ashore to avoid having to put your bag down, especially when there’s guano at our shooting location. I person-ally use a range of different camera bags from Gura Gear. The Gura Gear Batafl ae camera bag is the evolution of the origi-nal Kiboko and is widely regarded by many as one of the fi nest camera bags on the market. It’s light, strong and car-ries a ton of gear. I tend to travel with it pretty much full, but then try to leave a

few things in my cabin during landings to keep the weight as low as possible.

� Batteries: Bring plenty of spare camera batteries! Batteries can lose their charge dramatically in cold weather, and it may be necessary to swap batteries in and out of warm pockets in your cloth-ing on a regular basis. It’s good practice to have at least a spare battery (and I rec-ommend a minimum of two spares) for every camera you’re using.

� Flash: If you use a fl ash for wildlife work and have a specifi c reason to bring one, then do so. Personally, I don’t pack a fl ash, as I prefer to work with natural light and have never felt the need for a fl ash on this kind of expedition. If you’re planning to bring a fl ash for wildlife, it’s worth bringing a Better Beamer to extend the fl ash range.

� Card Readers: Rather than plug-ging your camera directly into your computer to transfer images, I suggest using a card reader, as you’ll be shoot-ing a lot of images and camera trans-fer can be quite slow. A good, fast card

spray when taking pictures. Even if you use professional splash-proof gear, it’s still important to keep sea spray off your bodies and lenses. Saltwater is highly corrosive, and it’s better to prevent it from attacking your camera in the fi rst place than trying to clean it off later.

There are many types of rain covers available, so buy what’s available or what your local camera store suggests. Note, though, that in cold conditions, rain cov-ers can retain moisture and condensation, and actually cause problems in some cases, so caution is still necessary. Per-sonally, I’ve found a shower cap is just as effective as most rain covers and takes up less space in my camera bag.

When returning from an extremely cold environment to a warm cabin, con-densation can form on your camera and lenses. To avoid this, it’s a good idea to ensure that you put all of your gear into your bag and zip it up before entering the warmer environment. You can then let it slowly come up to temperature inside the camera bag.

reader takes the stress out of transfer-ring images, and allows you to start editing and keywording your photo-graphs sooner. Be sure to purchase one compatible with your computer. USB 3.0 for PC laptops and FireWire 800 or Thunderbolt for Macs is ideal.

� Memory Cards: Bring enough memory cards for a full day of constant shooting. We’ll often be out shooting on the Zodiacs and unable to return to the ship for more cards in the middle of a shore excursion, and backing up on shore is usually not an option.

Generally, you’ll want to start trans-ferring images onto your computer as soon as we return to the ship. Even if you leave a transfer running while we eat or you do other things, it’s good to get this started as soon as possible, especially when you have multiple cards to unload.

� Computers and Hard Drives: I strongly recommend you bring a laptop with software such as Lightroom for fi le transfer and organization, as well as processing of your photos.

You’ll also need between 250 GB to 500 GB+ of storage on your hard drive, so if you don’t have this free on your internal hard drive, bring a fast exter-nal drive to store your images on. I also always travel with a second hard drive to make a second backup on before I format my memory cards. Hard-drive failure isn’t uncommon, so having at least two copies, or even three if possible, can save a lot of heartache in the case of a failure.

� Sensor Cleaning: If you’re con-fi dent enough to clean your camera sensor, bring a sensor cleaning kit with you. I usually fi nd that a good rocket blower is enough to keep the dust bun-nies at bay. It’s also good practice to make sure your sensor is clean before you start the trip. I recommend you have this professionally done by your camera manufacturer if you’re the least bit unsure of how to clean the sensor.

� Insurance: In addition to having travel/medical insurance for your trip (including emergency evacuation insur-ance), do consider insuring your equip-ment. We’ll be subject to some fairly harsh conditions on occasion, and gear failure isn’t uncommon. Likewise, cold hands drop things more easily, and if that happens over the ocean or a hard surface, it’s nice to be able to replace that gear later. Although we’ll take pre-cautions, rain or sea spray damage is a threat, too. OP



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Wild India LLC Expeditions

| January to June, 2015 |

Nature photographers are drawn to India for the abundant wildlife found in beautiful and varied habitats. Bengal

tigers are the main attraction, but they’re not the only ones. Photographing tigers in India is different than photographing Africa’s predators. When joining an expedition with Butch Lama, co-owner of Wild India LLC, he’s your fi eld guide and primary resource for photograph-ing India’s wildlife. His passion for photography is a close second to his dedication to the natural world. Having worked with countless photog-raphers, he knows how to get the most out of photographic encounters by, among other skills, anticipating tigers’ behavior with remarkable insight. What seems like instinct is the culmina-tion of tracking tigers nearly every day, on an average of fi ve months a year, for more than 20 years. Let his skills comple-ment yours. Now through November 2014, Wild India LLC is accepting reservations for Wild India’s 2015 Expedi-tions. Shortly after, reser-vations for their 2016 Expeditions will open.

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Big Animals Expeditions

| February 20 to March 5, 2015 |

Big Animals Expeditions usually adventure below the sea, but on this trip, they’ll trek into the Himalayan provinces of northern India in search of the elusive snow leopard. It’s within these rugged snowy peaks and valleys that you’ll fi nd many of the world’s 3,500 remaining snow leopards, living reclusively, spread out across this vast, remote area of Central Asia, subsisting by hunting small game and hiding—especially from people. February is the mating season for the snow leopards, so although there are no guarantees when it comes to seeing wildlife, they believe that this is the optimal time of year to photograph them. On their recent scouting trip, not only did they fi nd them, but they were able to photo-graph them for the very fi rst time ever displaying affection in the wild. The expedition will be lead by OP Contrib-uting Editor Jon Cornforth in Ladakh, India. Participants need to be fi t enough to climb hills at high altitude, grounded enough to endure extremes of cold and patient enough to stalk a phantom. Of course, you’ll also have the support of two Sherpas per guest. This adven-ture will afford you the rare opportu-nity to spend time in one of the world’s last truly wild places in search of a majestic animal that only a few will ever have the privilege of photograph-ing in the wild.

For more information, contact: (831) 241-6657, www.biganimals.com.

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I set it in shutter priority mode to 1⁄500

sec. and choose an ISO of between 200-800, which typically yields an aperture of between ƒ/4 and ƒ/8. I also attach my Singh-Ray LB Warming Polarizer to my lens and keep it from rotating by using a small piece of duct tape. Once my camera is in the air, I can throw a switch on my radio that triggers an infrared shutter release. It then takes a picture every one second for as long as I hold down the switch.

During my initial flights, I was enam-ored with this creative vision of photo-

ABOVE, LEFT: The amazing thing about flying a remote-controlled drone is that I can photograph landscape patterns that are otherwise impossible to see. This beautiful image was created by flying my hexacopter above the Kapoho tide pools, which are located in the Puna District on the south end of the Big Island of Hawaii. This is a popular place to snorkel, but it doesn’t lend itself to being easily photographed from the ground. I flew several flights at various distances and altitudes before I discovered this beautiful composition about 300m out and 75m above once I pointed my Canon EOS M and EF-M 11-22mm ƒ/4-5.6 down at a 70º angle. I used my Singh-Ray LB Warming Polarizer to remove the reflection on the water’s surface in order to reveal the turquoise water and coral below the surface. My camera was set in shutter priority mode at 1⁄500 sec., and I selected ISO 800.

ABOVE, RIGHT: This unique perspective of Wailua Falls on Kauai was achieved by visiting this popular overlook early in the morning before the tourist hordes descended and made flying my hexacopter too dangerous to do safely. I knew that if I flew my camera over to the other side of the canyon, I’d be able to photograph a rainbow in the mist at the base of the falls once the sun illuminated them. From the viewpoint, I hovered my copter about 175m out and 50m above the falls before angling my Canon EOS M and EF 22mm ƒ/2 STM almost straight down to achieve this oblique perspective.

graphing almost straight down onto my landscape subjects. I knew that many of the images I wanted to create would be similar to the satellite views that we’re used to seeing online or on our mobile devices on a daily basis. I thought that if it looked promising from the ground, maybe it would look even more impressive from the air. This isn’t always the case, how-ever, and I’ve become better at identifying potential aerial photos simply by using the map application on my iPhone. Often, the best aerial subjects aren’t all that pho-tographable from ground level, but only reveal themselves once my camera is in the air and looking down.

I still like to shoot down when I find a great subject for an abstract pattern image, but I’m increasingly shooting aer-ials of well-known subjects like beaches, mountains and sea stacks. Early on, I realized that these subjects were best photographed a few hours after sunrise or before sunset when contrast and shadows add texture and help define the terrain, rather than during the golden hour of dif-fuse light that I work with when shooting a long exposure on a tripod. I also needed to maintain my fast shutter speed, which is only possible in low-light situations by selecting a high ISO that produces an unacceptable amount of noise.

Photography using a remote-controlled multirotor is a challenging and rewarding way of creating unique imagery. It can also be disappointing, painful and even dangerous. However, the satisfaction is well worth the effort when this technol-ogy all works together to allow me to confidently position my flying camera and create beautiful aerial images. OP

Jon Cornforth is a photographer and OP blogger. See more of his work at cornforthimages.com, and go to the OP Daily Blog (outdoorphotographer.com/blog) to see more of his feature articles.

(Cont’d from page 83)

I’ve created prints of up to 24x36 inches that are sharp and look incredible.

The most important piece of technol-ogy for lifting all of this equipment into the air and keeping it aloft is the flight-control system. There are many options to choose from, including both propri-etary and open-source software models. I initially purchased and flew a flight-control system from one of the better-known brands, but after experiencing two crashes using their technology, I switched to using XAircraft’s SuperX and have been flying successfully ever since. The components include the flight-control module, which contains the gyros for sta-bilization, a compass for navigation, the I/O module for plugging into the radio receiver to control the aircraft, and the OSD for viewing the copter’s in-flight data like voltage, distance, elevation and number of GPS satellites. The total cost of my SuperX system is about $700.

Once my camera is flying in the air, how do I know what it’s seeing? Using my camera’s Live View function, I output that signal to my SuperX’s OSD, which is then combined with the OSD’s flight data and sent through my wireless video transmitter. Next, I have a video receiver, which outputs the signal to a 5-inch LCD screen mounted on top of my radio controller. Thus, I can see the real-time view of my camera for first-person-view (FPV) flying and composing images.

Even though I’m using a super-wide-angle lens, there’s still a lot of movement and vibration affecting my camera. To overcome this, I use a gim-bal that constantly uses its two motors to stabilize and keep my camera per-fectly level no matter the orientation of my hexacopter. I can also control its pitch to adjust the horizon or even point my camera down at a 70º angle.

Before my camera leaves the ground, outdoorphotographer.com September 2014 91

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Y

gadget bag

You’ve upgraded to a 1080p/4K camera,

picked out your preferred lenses, looked

into continuous light systems, and

researched microphones and audio

recorders. You’ve practiced achieving

smooth movements with sliders, jibs and

drones, and maybe even experimented

with some multicam shots. And now you

have cards full of video footage ready for

the next step of uploading and editing.

As photographers looking at hard

drives, we primarily think about storage

capacity and file backup. When working

with video files, of course, capacity is

paramount—raw video files are huge.

But the transfer speed of a drive for an

active editing workflow is also a major

factor in determining the best hard drive

for your system.

When choosing a hard drive, the first

thing to look at is the type of drive and if it’s

a single drive or part of a RAID (Redundant

Array of Independent Disks) system. An

HDD (hard disk drive) is probably what you

imagine when you think of a traditional

drive. The guts look similar to a record

player. A platter spins, making that familiar

whir noise, and an arm moves side to side

reading information, creating that subtle

desk vibration. Today’s current high-

performance HDDs suitable for video

workflow have a 7200 rpm equal to about

a 150 MB/s sustained transfer speed.

Many also have capacities of up to 4 TB.

Because of their mechanical moving parts,

HDDs are a bit more sensitive, needing a

flat and stable work surface, and are more

prone to wear or sudden breakage, but

they’re more affordable than other options.

The SSD (solid-state drive) is known for

its speed. It has no moving parts (which

means less wear and tear) and can access

files almost instantly, regardless of file size.

Because of this, SSDs are often employed

for OS system operation. SSDs have a

general sustained transfer rate of 400

MB/s. But because of their mechanics,

they’re more expensive than HDDs per

GB and are mostly available in smaller

capacities, often best suited for simple

storage instead of video editing.

RAID storage systems are flexible,

allowing you to combine multiple drives

(usually HDDs) together, maximizing your

system for space, speed or a balance of

both. A RAID 0 system combines the

speed of all drives, striving for the quickest

possible machine. This can be done with

as few as two drives. But a RAID 0 has

none of the redundancy you might

associate with the term RAID, so if your

system fails, everything is lost, and

hopefully assets have been backed up

elsewhere. RAID 1, using two drives, is a

simple mirror. A second drive backs up

everything from the first drive. This does

nothing to increase speed, so while it has

advantages, it’s not the best option for

video processing. RAID 5 is the best of

both worlds. Using at least four drives, a

RAID 5 system will provide backup options

and increased speed based on your

preferences. With a RAID 5 system, speed

isn’t completely additive, so the speed is

dependent on your system setup.

Another huge factor in determining

your hard drive speed capability is the

connection from drive to computer. While

you may have the quickest drive available,

a slow connection will cause a traffic jam,

making the drive speed irrelevant.

Everyone is familiar with USB 2.0.

This is the most common connection type,

but it has a very slow transfer rate of

Edit your video footage

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gadget bag

dual-drive RAID system providing 0, 1 and

JBOD configurations, and up to 12 TB

capacity. The two hot-swappable disks

have a drive speed of 7200 rpm, with a

transfer speed of 420 MB/s. The system

provides dual Thunderbolt 2 ports along

with a USB 3.0 interface to easily

daisy-chain up to six devices (plus a 4K

display) for quick work and viewing with

uncompressed 2K or compressed 4K

video. The LaCie Rugged Triple USB 3.0

HDD comes in 500 GB to 2 TB capacities,

but only the 500 GB size is available at a

7200 rpm speed. The others are 5400 rpm

or below. The 500 GB 7200 rpm drive has a

transfer speed of 110 MB/s. All drives come

with USB 3.0, USB 2.0, FireWire 800 and

FireWire 400 connectivity. Recently added

to the Rugged lineup is the LaCie Rugged

Thunderbolt. While the 1 TB and 2 TB

capacity HDDs have 5400 rpm, the 250 GB

and 500 GB drives are solid-state, with a

transfer speed of 387 MB/s, providing both

a Thunderbolt port and USB 3.0 port. The

iconic Rugged design uses a rubber

bumper protecting both the Rugged Triple

USB 3.0 and the Rugged Thunderbolt from

falls of up to two meters. Lacie.com

Promise Technology’s Pegasus2 R4

creates an 8 TB total RAID array with four

2 TB hot-swappable 7200 rpm drives that

can be configured in RAID 0, 1, 5, 6 or 10.

With dual Thunderbolt 2 connections, the

system can be daisy-chained with up to six

units to increase speed and storage for

work with 4K footage. The Pegasus J4 is

a slim, mobile 4-bay RAID design that

supports either SSDs or 7200 rpm HDDs,

with a 2 TB total capacity and dual

Thunderbolt ports. Set up as RAID 0, 1 or

JBOD, the system can also be daisy-

chained to up to six devices for additional

speed and capacity. Promise.com

My Book Thunderbolt Duo from WDC

is a two-drive system configurable for RAID

0, 1 or JBOD, with a large capacity of 4 TB

to 8 TB. A single drive has a 300 MB/s

transfer rate. The dual Thunderbolt ports

allow daisy-chaining of up to six devices

for increased speed and storage. The My

Passport Pro is a RAID system designed

specifically for shooters on the go. Using a

built-in Thunderbolt cable for connection,

as well as a BUS power supply, no

additional cables for connection or power

are needed. Available in 2 TB or 4 TB, the

system has a transfer speed of 233 MB/s

or 230 MB/s, respectively. Configurable to

RAID 0 or 1, it’s also compatible with Apple

Time Machine. Wdc.com OP

480 Mb/s, or about 60 MB/s. This works

for moving and storing small .doc files,

but doesn’t usually hold up to complex

video editing. FireWire 800 came along

after USB 2.0 (quickly having us forget

that FireWire 400 was even a thing), with

a transfer rate of 800 Mb/s, or 100 MB/s.

This is quicker than USB 2.0, yet slower

than most current hard drive abilities. The

eSATA connection is 3 Gb/s, or 375 MB/s.

It’s a reliable connection for single drives

or two-drive RAID 0 systems, but can’t be

used for daisy-chains or hubs that connect

multiple drives.

The two connections with the quickest

and most reliable transfer speeds are the

USB 3.0 and Thunderbolt connections.

They allow for connection through a hub

or daisy-chaining systems together,

immediately expanding storage space, as

well as multiplying system speed for large

video files and more complicated multicam

raw file editing. USB 3.0 has a transfer

speed that’s 10 times quicker than USB

2.0, at 4.8 Gb/s (600 MB/s), while the

more expensive Thunderbolt 1 (10 Gb/s,

or 1250 MB/s) and Thunderbolt 2 (20

Gb/s, or 2500 MB/s) will be the most

reliable for RAID arrays.

To decide what size and speed drive you

need, evaluate your shooting and editing

style. Several free smartphone apps are

available, such as the AJA DataCalc, which

can help you determine the amount of

space your footage will take up so you

can estimate your capacity demands.

Enter the length of your video clip, your

resolution, codec and audio information,

and it determines how much storage space

you need. Given that number, you’ll most

likely need to factor in the original raw file

size, add some additional buffer storage

for rendering, music files, transitions and

exports, and then double that for backup.

Speed will be reliant on your codec

and resolution, as well. An AVCHD 1080p

file has about a 3 MB/s transfer speed, a

ProRes 422 HQ 1080p file has about a 27

MB/s transfer speed, and a ProRes 422

HQ 4K file has about a 110 MB/s transfer

speed. If you’re working with one track,

making simple edits, basic transitions and

lower thirds, you may need to only double

the speed to have a quick, functioning

system. But for more intricate editing with

multicam layers and advanced graphics,

you’ll need much more.

As you assess your capacity and speed

needs, and determine if you’ll be doing

most of your editing from your home or on

the road, here are a few hard drive options

to check out.

The G-SPEED Studio hardware RAID

4-bay Thunderbolt 2 system by

G-Technology is a professional-quality

system for quick handling of 4K video. It can

be set up for RAID 0, 1, 5 and 10. With a

7200 rpm drive speed and dual Thunderbolt

2 interface, it has a sustained transfer rate

of 700 MB/s. At 12 TB, 16 TB and 24 TB

capacities, it also has the ability to daisy-

chain. The G-RAID with Removable

Drives is a flexible solution for HD video

storage and editing. The all-aluminum case

houses two removable drives with up to a

total of 12 TB capacity, with a 7200 rpm and

330 MB/s transfer rate. The drives can be

set up in RAID 0, 1 or JBOD (“just a bunch

of disks”) mode, with USB 3.0, eSATA and

FireWire 800 interfaces. The G-DRIVE with

Thunderbolt HDD is available in 3 TB or 4

TB capacities. With a 7200 rpm drive speed,

it has a 165 MB/s transfer rate and both a

Thunderbolt and USB 3.0 interface. All three

drives include a limited three-year warranty.

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Prices, specifi cations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates)

printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp.

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Visit our SuperStore- Over 70,000 square feet of the latest gear

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When in New York,

Visit our SuperStore

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Over 70,000 square feet

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The most knowledgeable

Sales Professionals

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available


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212-444-6633

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Page 2

X-T1 Mirrorless System Camera

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X-M1 Mirrorless System Camera

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X-E2 Mirrorless System Camera

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LENSES AND FLASHES for DSLR & Mirroless Cameras

Mirrorless System Lenses

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http://BandH.com/catalog


Store & Mail Order Hours:

Sunday 10-5 Mon.-Thurs. 9-7

Friday 9-1 EST/9-2 DST

Saturday Closed

092014

Over 300,000 products,

at your leisure

www.BandH.com

We Buy, Sell and Trade

UsUseded EEququq ipippmementnt

800-947-9953

212-444-6653

Fax:

212-239-7770

When in New York,




Page 3

August 5 ....................Closed

September 25-26 .....Closed

Lumix DMC-GM1 Mirrorless System Camera

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Alpha A6000 Mirrorless System Camera

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LENSES AND FLASHES for DSLR & Mirroless Cameras

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H – HSM Model with Canon, Nikon, Sigma Mount SKU # Rebate Price R – Rear Slip-in Gelatin Filter Slot Mount SKU # Rebate Price

DC ��&9�$JSDVMBS�'JTIFZF�)4.�R $ �/ �1�4* �4" �4*��&9� — 899.00 DC ��&9�)4.�� $ �/ �1�4* �4" �4*�� — 649.00DG ��&9�$JSDVMBS�'JTIFZF�R $ �/ �4* �4" �4*�� — 899.00 DG ��&9�"TQI��)4.�** $ �/ �4* �4" �4*�� — 949.00DC ��&9�'JTIFZF�)4.�R $ �/ �1�4* �4" �4*��&9%$� — 649.00 DC ��&9�04�)4.�� $ �/ �1�4* �4" �4*�� $150 519.00**DG ��&9�%JBHPOBM�'JTIFZF�R $ �/ �1�4* �4" �4*��%(� — 609.00 DC ��04�.BD�)4.�54$�� $ �/ �1�4* �4" �4*�� — 499.00DN ��#MBDL�PS�4JMWFS .'5 �4& �4*��%/� — 199.00 DC ��)4.�� $ �/ �1�4* �4" �4*��%$� — 799.00DG ��&9�%'�3'�"TQIFSJDBM�� $ �/ �4* �4" �4*�� — 629.00 DC ��04�**�)4.�� $ �/ �1�4* �4" �4*�� — 499.00DG ��&9�%'�"TQI��.BDSP�� $ �/ �1�4* �4" �4*��.� — 549.00 DC ��04�.BDSP�)4.�� $ �/ �1�4* �4" �4*��%� — 399.00DG ��&9�%'�"TQI��.BDSP�� $ �/ �1�4* �4" �4*��.� — 449.00 DC ��04�.BDSP�)4.�� $ �/ �1�4* �4" �4*��.� $200 349.00**DN ��#MBDL�PS�4JMWFS .'5 �4& �4*��%/� — 199.00 DG ��&9�*'�)4.�� $ �/ �1�4* �4" �4*�� $100 799.00**DC ��)4.�� $ �/ �1�4* �4" �4*��%$)4.� — 499.00 DG ��04�)4.�� $ �/ �4* �4" �4*�� — 899.00DG ��)4.�� $ �/ �1�4* �4" �4*�� — 899.00 DC ��&9�"10�04�)4.�� $ �/ �4*�� — 1099.00DG ��&9�)4.��H $ �/ �1�4* �4" �4*�� $100 399.00** DG ��"10�04�)4.�� $ �/ �1�4* �4" �4*�� $150 1,509.00**DG ��)4.��H $ �/ �4* �4" �4*��"� — 949.00 DG ��&9�"10�04�)4.�� $ �/ �1�4* �4" �4*�� $200 1,199.00**DG ��&9�.BDSP�� $ �/ �1�4* �4" �4*��.%(� — 369.00 DG ��.BDSP�� $ �/ �1�4* �4" �4*�� $25 144.00**DN ��#MBDL�PS�4JMWFS .'5 �4& �4*��%/� — 239.00 DG ��"10�.BDSP�� $ �/ �1�4* �4" �4*��%(� — 179.00DG ��&9�.BDSP�� $ �/ �1�4* �4" �4*��.%(� — 499.00 DG ��04�)4.�� $ �/ �4 �4*�� — 3,599.00DG ��&9�)4.�� $ �/ �1�4* �4" �4*�� — 969.00 DG ��"10�04�)4.��3 $ �/ �1�4* �4" �4*�� — 899.00DG ��&9�.BDSP�04�)4.�� $ �/ �4* �4" �4*��.%(� $300 669.00** DG ��"10�04�)4.�� $ �/ �1�4* �4" �4*�� $200 869.00**DG ��&9�"10�.BDSP�04�)4.�� $ �/ �4* �4" �4*��".0� — 1,099.00 DG ��Y�&9�"10�5FMF�$POWFSUFS $ �/ �4 �4*��9%(� — 249.00DG ��&9�"10�.BDSP�04�)4.�� $ �/ �4* �4" �4*��".&0� $200 1,499.00** DG �Y�&9�"10�5FMF�$POWFSUFS $ �/ �4 �4*�9%(� $50 249.00**DG ��"10�&9�)4.��3FBS $ �/ �1�4* �4" �4*��%(� — 3,399.00 SIGMA FLASHESDG ��"10�&9�)4.��3FBS $ �/ �1�4* �4" �4*��%(� — 4,999.00 DG &'��45 $ �/ �1�4* �4" �4*&'��45� $30 135.00**DC ��)4. $ �/ �4 �4*�� $50 649.00** DG &'��4VQFS�'MBTI $ �/ �1�4* �4" �4*&'�� $30 225.00**DC ��&9�)4.�� $ �/ �1�4* �4" �4*��%� $80 399.00** DG &.��55-�3JOHMJHIU $ �/ �1�4* �4" �4*&.��%(� $30 349.00**


When in New York,





of the latest gear


Sales Professionals

Hands-on demos


available


BandH.com/catalog

212-444-6633

www.BandH.com

Page 4

EOS-5D Mark III DSLR

t�3.2" Clear View High Resolution LCD

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Rebates (Mail-in) Expire 8-2-14 Price Rebate Final Cost

#PEZ�0OMZ� #CAE5D3* .............................................� �� ........$200 .... 3,199.00

,JU�XJUI��NN�-�*4� #CAE5D324105 ................� �� ........$200 ....3,799.00

Mail-in

EOS Flash System MAP Rebate Final

��&9�** ...................................................��.............. ..................��&9 ............................................................................... ..................��&9�** ...................................................��.............. ..................��&9�35.................................................��.............. ...................3��&9�**�3JOHMJHIU .................................��.............. ...................5��&9�5XJO�'MBTI ..................................��.............. ..................

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EF-S Digital Lenses MAP Rebate Final

/PU�DPNQBUJCMF�XJUI�GVMM�GSBNF�DBNFSBT

��64.�.BDSP�� ...........................��........$50 .......419.99

��*4�45.��......................��.............. ..................��64.�� .........................��........$50 .......599.99

��*4�64.�� .....................��......$100 .......699.99

��*4�64.�� ............................��........$60 .......819.99

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EF Lenses MAP Rebate Final

��64.�� .....................................��........$50 .......489.99

��*4�64.�� .................................��........$50 .......549.99

��64.�� .....................................��........$60 .......449.99

��*4�64.�� .................................��......$100 ... 449.99**

��*4�64.�� ....................................��........$50 .......549.99

��45.�1BODBLF��........................��........$50 .......149.99

��**�� ..........................................��........$20 .......105.99

��.BDSP��...................................��........$30 .......269.99

��64.�� .....................................��........$50 .......349.99

.1�&��Y��Y�.BDSP�� .............� ��......$100 .......949.00

��64.�� .....................................��........$50 .......369.99

��64.�� ......................................��......$100 ... 399.99**

��64.�.BDSP�� .........................��........$50 .......549.99

��*4�64.�� ...................��.............. ..................��*4�64.�� ......................��......$300 ... 349.99**

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TSE MF Lenses MAP Rebate Final

��- ................................................� ��......$150 ....2,349.00

��-�** .............................................� ��......$150 ....2,049.00

�� ..................................................� ��......$100 ....1,299.00

�� ..................................................� ��......$100 ....1,299.00

Mail-in

EF "L" Lenses MAP Rebate Final

��64.�** ........................................� ��......$150 ....2,209.00

��**�� .......................................� ��......$150 ....1,599.00

��64.�� ..................................� ��......$100 ....1,379.00

��64.�� ..................................� ��......$150 ....1,469.00

��64.�**�� ...............................� ��......$150 ....2,049.00

��*4�64.�.BDSP�� ..................� ��......$150 ... 899.00**

��64.�� ................................� ��......$100 .......989.00

��64.�.BDSP�� ......................� ��......$100 ....1,479.00

��64.�**�� ................................��........$50 .......769.99

��*4�64.�� ............................� ��.............. ..................��*4�64.�� ............................� ��......$100 ....1,349.00

��*4�64.�**��SFBS ...................� ��.............. ..................��64.�� ................................� ��......$100 ....1,239.00

��*4�**��SFBS .........................�� .............. ..................��*4�64.�**��SFBS ....................�� .............. ..................��*4�**��SFBS .........................�� .............. ..................��'JTI�FZF�64. ..........................� ��......$100 ....1,399.00

��*4�64.�� ............................� ��.............. ..................��64.�**�� ..........................� ��......$150 ....1,549.00

��64.�� ...............................��......$100 .......739.99

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��*4�64.�� ..........................� ��.............. ..................��*4�64.�� ................� ��.............. ..................��64.�� .............................��........$80 .......629.99

��*4�64.�� .......................� ��......$150 ....1,199.00

��64.�� ..........................� ��......$100 ....1,349.00

��*4�**�64.�� ....................� ��......$200 ....2,299.00

��*4�64.�� ................� ��......$200 ....1,399.00

��*4�64.�� ..............� ��......$200 ....1,499.00

EF Teleconverters MAP Rebate Final

��Y�*** ......................................................��........$50 .......449.99

�Y�*** .........................................................��........$50 .......449.99

** with purchase of EOS-6D, 7D, 70D, or 60D

EOS-6D DSLR

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Rebates (Mail-in) Expire 8-2-14 Price Rebate Final Cost

#PEZ�0OMZ� #CAE6D ................................................� �� ........$200 ....1,699.99

,JU�XJUI��NN�G��-� #CAE6D24105 ................� �� ........$200 ....2,299.99

20Mega

Pixels

Digital Rebel T5i DSLR

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Kit with��NN�*4�45. #CAEDRT5IK ....................�� ........$100 ....... 749.99

T5 Kit XJUI��NN�*4�**� #CAEDRT5K .....................�� .........$50 ........499.99

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Body Only #CAE1DX* .........................................................6,799.00 18Mega

Pixels

SLR Lenses and Flashes

EOS-70D DSLR

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#PEZ�0OMZ� #CAE70D ............................................... � �� ........$100 ....1,099.00

Kit with��NN�45. #CAE70D1855 ..................� �� ........$100 ....1,249.00

EOS 60D #PEZ�0OMZ� #CAE60D ..................................�� ........$200 .......699.99

EOS 60D Kit XJUI��NN�*4� #CAE60D18135 ... � �� ........$200 .......999.00

20Mega

Pixels

Rebates (Mail-in) Expire 8-2-14 — Call for Current Rebates & Promotions

18Mega

Pixels

$100REBATE!

$200REBATE!

$100REBATE!

SPECIAL!UP TO $600

REBATE!

$200REBATE!

EOS-7D DSLR

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#PEZ�0OMZ #CAE7D ................................. � �� ....$500 ......999.99

,JU�XJUI��NN�*4� #CAE7D18135 ..... � �� ....$500 ...1,299.99

,JU�XJUI��NN�*4� #CAE7D28135 ..... � �� ....$600 ...1,099.99 18Mega

Pixels

22Mega

Pixels





Sunday 10-5 t Mon.-Thurs. 9-7


Saturday Closed

092014


at your leisure

www.BandH.com


800-947-9953

212-444-6653

Fax:

212-239-7770

When in New York,




Page 5

August 5 ....................Closed


SLR Lenses and Flashes

D4s DSLR

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Body Only #NID4S ....................................6,496.95 16Mega

Pixels

Instant Savings on Lenses with purchase of any Nikon DSLR

AF Flashes Price Rebate Final

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7100 body

Rebates Expire 7-26-14 — Call for Current Rebates and Promotions

D610 DSLR

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24Mega

Pixels

Up to $200REBATE!

D810 DSLR

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Pixels

D7100 DSLR

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#PEZ�0OMZ� #NID7100 .............................................. � �� .... $100 .......1,099.95

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24Mega

Pixels

!

Up to $200REBATE!

D5300 DSLR



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D5300 18-55 Kit is available in Black, Grey or Red Price Rebate Final Cost

,JU�XJUI��NN�73�**�# �( �3 #NID53001855* ........�� ..... $50 ........846.95

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24Mega

Pixels

Up to $250REBATE!

D3300 DSLR


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,JU�XJUI��NN�73�** #NID33001855* ......................�� ..... $50 ........596.95

D3200 ,JU�#MBDL�X��NN�73 #NID32001855* ....�� ..... $50 ........479.95

24Mega

Pixels

Rebates Expire 7-26-14

$50REBATE!

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Page 6

SDHC Secure Digital High CapacityDelkin Kingston Sandisk

Pro Micro Std Micro

Class

10

Class 4

Mobility

Class

4

Class

4

4GB 7.95 — 5.95 6.95

8GB 9.95 6.84 6.95 7.95

16GB 12.95 10.14 9.95 10.95

32GB 19.95 19.62 18.95 19.95

CF Compact FlashDelkin Kingston Lexar Sandisk

500x 700x 1000x 1050xUltimate

266x

Ultimate

600x800x 1066x

Ultra

50MBs

Extreme

120MBs

Extreme Pro

160MBs

16GB 29.95 37.95 59.95 — 18.95 34.95 43.95 69.95 49.95 50.95 74.95

32GB 44.50 59.95 94.95 109.95 34.95 58.80 69.95 115.17 94.99 83.95 127.89

64GB 84.50 111.95 179.95 202.50 54.00 — 119.00 242.95 — 149.95 279.00

128GB — 224.95 349.95 419.95 — — 222.95 484.95 — 269.99 579.99

256GB — — — — — — 469.95 969.95 — — 949.99

512GB — — — — — — 931.99 — — — —

XQD High-Speed for Nikon D4Lexar Sony

Professional

1100x

N Series

125MBs

S Series

180MBs

32GB 209.95 99.95 199.95

64GB 414.95 189.95 298.95

SDXC-UHS1 Extended Capacity -UHS2

Delkin Kingston Lexar Sandisk Sony Sandisk

600x 633xClass 10 Class 10 Micro Class 10 Micro

80MBs

Class 10 Class 4 Extreme Pro

233x 200x 400x 600x 633x 30MBs 80MBs 95MBs 40MBs 94MBs Micro Backup 280MBs

64GB 68.95 88.50 51.02 39.95 53.95 69.95 68.50 62.95 79.95 98.95 74.95 35.95 67.95 39.99 57.50 229.99

128GB 139.95 — — 99.95 97.95 135.95 — 124.99 144.99 — — — — — — —

256GB — — — — — 399.00 — Note: Not all devices support SDXC cards —

SDHC-UHS1 Ultra High Speed -UHS2

Delkin Kingston Lexar Sandisk Sony Sandisk

600x 633xClass 10 Class 10 Micro Ultra

30MBs

Extreme

80MBs

Extrm Pro

95MBs

Micro

80MBs

Class 10 Class 4 Extreme Pro

233x 200x 400x 600x 633x 40MBs 94MBs Micro Backup 280MBs

8GB 15.95 17.95 — — 12.95 — — 8.94 17.95 21.95 — 8.39 13.49 8.99 — —

16GB 20.95 32.95 16.20 12.95 17.95 24.95 26.95 14.95 27.50 33.76 26.73 12.95 21.61 11.95 17.95 74.95

32GB 34.50 59.95 30.90 23.95 28.95 36.95 44.95 24.95 39.95 49.95 39.95 17.49 34.95 18.95 29.95 124.95

Extreme Pro

CFast 2.0 memory card

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60GB .......$649.95 120GB .. $1,199.95

NEW!

MEMORY CARDS

You're On Steady Ground

Tripods with Ball HeadĄŕ��.��"��&�ŕ��!ŕ�(�ŕ�)&/'(ŕ�),'ŕ )()*)�

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AT-3421 ��Ĕõôú� úþúŕ&� 59" õúþüĶ öþûŕ&� į��÷øöõõôú� $159.95AT-3431 ��Ĕõôü� üþüŕ&� úõþ÷Ķ õûþ÷Ķ öþüŕ&� į��÷ø÷õõôü� $199.95AT-3441 ��Ĕõõõ� õõŕ&� ú÷þøĶ õûþùĶ ÷þùŕ&� į��÷øøõõõõ� $249.95AT-3451 ��Ĕõõ÷� õ÷þöŕ&� úùþùĶ õüþõĶ ÷þúŕ&� į��÷øùõõõ÷� $289.95AT-3461 ��Ĕõõû� õûþúŕ&� úûþõĶ õüýĶ øþùŕ&� į��÷øúõõõû� $299.95

6x Carbon Fiber Tripods

CT-3431 ��Ĕõôü� üþüŕ&� ùýþùĶ õûĶ öþùŕ&� į��÷ø÷õõôü� $399.95CT-3451 ��Ĕõõ÷� õ÷þöŕ&� úõþ÷Ķ õûþõĶ öþùŕ&� į��÷øùõõõ÷� $479.95CT-3461 ��Ĕõõû� õûþúŕ&� úøþùĶ õûþøĶ ÷þõŕ&� į��÷øúõõõû� $479.95CT-3481 ��Ĕõöú� öúþøŕ&� úüĶ õüþýĶ ÷þüŕ&� į��÷øüõõöú� $499.95CT-3521 ��Ĕõôú� úþúŕ&� ùúþøĶ õøþüĶ öþøŕ&� į��÷ùöõõôú� $379.95CT-3531 ��Ĕõôü� üþüŕ&� úôþüĶ õùþùĶ öþùŕ&� į��÷ù÷õõôü� $399.95CT-3551 ��Ĕõõ÷� õ÷þöŕ&� úöþøĶ õúĶ öþúŕ&� į��÷ùùõõõ÷� $469.95CT-3561 ��Ĕõõû� õûþúŕ&� úøþ÷Ķ õúþüĶ ÷þõŕ&� į��÷ùúõõõû� $349.95CT-3581 ��Ĕõöú� öúþøŕ&� úûþýĶ õúþýĶ ÷þýŕ&� į��÷ùüõõöú� $369.95

AT-3421

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CyberShot DSC-RX100 II

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Coolpix A

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Powershot G16

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Pixels







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092014


at your leisure

www.BandH.com


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Fax:

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Page 7

August 5 ....................Closed


55mm 58mm 62mm 67mm 72mm 77mm

UV Haze SC 18.50 24.95 28.99 31.95 34.00 39.99

UV Haze MRC 010M 35.50 31.50 36.30 42.90 49.89 71.75

Circular Polarizer SC 83.95 85.95 83.50 80.00 73.95 99.00

Circular Polarizer MRC 78.00 87.53 82.50 109.99 89.99 119.99

Circular Polarizer Slim 56.95 49.99 68.00 69.99 59.99 80.00

Skylight KR1.5 (1A) 24.50 25.95 31.95 38.95 42.00 53.95

Digital Pro UV MC 41.95 41.95 44.00 — — —

Graduated (N.D. & Colors) 99.95 106.95 99.50 109.50 142.50 152.95

Neutral Density 106 56.00 60.95 97.95 105.95 121.95 137.95

Close-Up Lenses 1, 2, 3, 4, 5 25.95 25.95 31.95 38.95 45.95 53.95

52mm 58mm 67mm 72mm 77mm

UV, Skylight (1B) HMC 16.50 21.50 27.50 29.95 36.20

UV, Skylight (1B) Super HMC 27.89 26.49 33.00 52.95 44.99

Linear Polarizer 16.99 25.00 38.85 36.85 44.90

Circular Polarizer 23.95 29.95 34.95 42.95 38.90

Circular Polarizer HMC 39.95 49.00 55.90 69.00 104.90

“Moose” Warm Circular Polarizer 35.75 39.55 53.90 55.65 91.50

K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC 23.95 28.35 41.95 46.35 60.90

Close Up Set (+1, +2, +4) 39.99 47.35 53.00 63.00 68.00

Close-Up Set HMC (+1, +2, +4) 52.68 64.88 73.00 100.68 145.35

Intensifi er – Blue, Green Field, Enhancement (Red) 34.68 39.95 55.08 60.00 71.50

Neutral Density 2x, 4x, 8x HMC 23.88 19.95 36.95 30.99 34.80

Star 6, Star 8 16.89 22.50 43.35 49.90 46.68

Made exclusively with glass from Schott (Zeiss)

the world’s fi nest optical glass supplier.


Skylight (1B), UV 39.99 41.99 62.99 77.99 89.99

Skylight (1B), UV SH-PMC 72.99 78.99 103.99 131.99 157.99

Circular Polarizer, Slim Circular Polarizer 115.99 121.99 151.99 180.99 195.99

Circular Polarizer SH-PMC, Slim Circ. Pol. SH-PMC 161.99 171.99 214.99 242.99 275.99

#5, #8, #11, #13, #15, #22, 81A, 81B, 81C 49.99 51.99 78.99 96.99 108.99

Digital Filter 176.99 180.99 222.99 261.99 301.99

FILTERS

B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.B&H SPECIAL! Buy 3 or more

B+W Filters & Get 5% Off.

in stock

PHOTOGRAPHY ACCESSORIES

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#"55&3:

(3*14

LiteTrek 4.0 (LT) SeriesWhether it's fashion, wedding or portrait

photography, the best way to achieve

professional-looking results in the fi eld

is by adding fl ash to the ambient light.

The Impact Mini LiteTrek Battery Pack

provides DC juice to your Impact

LiteTrek 4.0 portable fl ash or select

Nikon & Canon fl ashes with optional

power cords as well as Quantum

fl ashes without adaptation.

LiteTrek 4.0 DC Monolight

Flash Head #IMLTFH ..$499.95

LiteTrek 4.0 DC Monolight Kits

with Mini LiteTrek Battery Pack

1-Light Kit #IMMLTBK ...................$799. Instant Re te -$150 $649.95

2-Light Kit #IMMLTBK2 .............$1199.90 Instant Rebate -$150 $1049.90

Mini LiteTrek (LT) Battery #IMMLTB ......................................................................$199.95

Mini LiteTrek (LT) Battery Pack #IMMLTPBP .......................................................$549.95

Mini LiteTrek (LT) Pack & Charger Kit with CKE Nikon Cable #IMMLTPBPK1 ...$573.95

Mini LiteTrek (LT) Pack & Charger Kit with CZ Canon Cable #IMMLTPBPK2 .....$577.95

LiteTrek AccessoriesCharger for Mini LiteTrek #IMCBP ...$49.95

IM-CZ Canon Flash Cable #IMCZ.....$39.95

IM-CKE Nikon Flash Cable #IMCKE .$39.95

LiteTrek 4.0 Flash Tube #IMFTFH .....$79.95

Refl ector Adapter (Bowens Adapter) #IMBAFH ...........................................................$24.95

lighting equipment and accessories

Instant Savings on LiteTrek 4.0 Monolight Kits (Expires 7-31-14)

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Digital Essentials Kits

In StockDIGITAL HT FILTERS


812 Warming 48.95 74.95 99.95 109.95 129.95

Grad ND 0.6 74.95 63.95 82.90 119.95 139.95

Circular Polarizer 74.10 89.95 119.90 129.95 199.99

Ultra Clear 34.95 38.95 45.95 54.95 54.95

Haze 86 38.95 47.95 56.90 64.95 99.95

ND 1.2 41.50 56.95 74.90 109.95 129.95

ND 0.6 48.95 50.95 69.95 99.95 119.95

Soft FX3 56.95 63.95 82.90 119.95 139.95

Star 4 pt 2 64.95 56.95 74.90 109.95 129.95

Ten -Year WarrantyMade in USA

Multicoated Filter Technology

FILM – B&W AND COLOR

COLOR PRINT

Superia

CA 200 135-24 ..........1.74

CA 200 135-36 ..........3.50

CH 400 135-24 ..........2.25

CH 400 135-36 ..........3.99

CZ 800 135-24 ..........3.49

Pro

400H 135-36 ...........10.99

400H 120 Roll ............7.95

Gold Max

GC 400 135-24 ..........2.49

GC 400 135-36 ..........3.29

Ektar

100 135-36 ...............5.50

100 120 Roll ..............4.90

Portra

160 135-36 ...............6.99

160 120 Roll ..............5.50

160 220 Roll ............14.70

160 220 PP (5) .........73.50

400 135-36 ...............7.35

400 120 Roll ..............5.85

400 220 Roll ............15.19

400 220 PP (5) .........75.95

800 135-36 ...............9.99

800 120 Roll ..............8.98

COLOR SLIDE

Provia

RDP 100F 135-36 ...10.51

135-36PP (5) .......52.55

RDP 100F 120 Roll ....7.19

135-36PP (5) .......35.95

Velvia RVP

Pro 50 135-36 .........11.59

Pro 50 120 Roll ..........8.55

100 135-36 .............10.64

100 120 Roll ..............7.69

PROCESSING MAILERS

Slide

36 Exposures

(35mm) ..................10.59

Print C41 35mm ......13.49

Print C41 120 Roll ...15.49

Print C41 220 Roll ...30.95

BLACK & WHITE PRINT

Pan F+ 50 135-36 .....6.50

Pan F+ 50 120 Roll ....4.75

FP4+ 125 135-36 ......5.99

FP4+ 125 120 Roll .....4.59

HP5+ 400 135-36 .....4.75

HP5+ 400 120 Roll ....4.09

Delta Pro

100 135-36 ...............6.25

100 120 Roll ..............4.50

400 135-36 ...............6.29

400 120 Roll ..............4.95

3200 135-36 .............7.99

3200 120 Roll ............5.99

XP-2 Super

400 135-36 ...............6.49

400 120 Roll ..............4.75

Infrared

SFX 200 135-36 ........7.99

SFX 200 120 Roll .......6.99

Acros 100 135-36 .....6.25

Acros 100 120 Roll ....4.62

Neopan 400 135-36 ..6.99

Tri-X 400 135-36 ......4.99

Tri-X 400 120 Roll .....4.85

TMX 100 135-36 .......4.95

TMX 100 120 Roll ......4.49

TMY 400 135-36 .......4.95

TMY 400 120 Roll ......4.59

BW 400CN 135-36 ....6.50



EExtreme environmentsoffer memorable im-ages, when perfect and when chaotic. Pho-tographers need to be both patient and ready, seizing the moment in ephemeral conditions. For those dreaming of the photographic ex-pedition of a lifetime, some advice: Choose the right expedition, and once onboard, be willing to be patient and ready for oppor-tunity, know your gear, be weather-hardy, and be willing to pull out your camera in challeng-ing conditions.

For 20 years, I’ve led Antarctic expeditions; my job is making those moments of opportunity when photog-raphers can create the best images of their careers. Because Antarctica is one of the most spectacular and wildlife-rich environments in the world, this is easy, even guaranteed, in good weather conditions. Phrases like “once in a life-time” and “the ultimate destination” are our stock-in-trade, for good reason; the landscape and wildlife overfl ow with superlatives. However, Antarctica is as extreme as environments come, and conditions can change from glorious to critical in a moment. Both expedition leader and photographer have essential roles in the expedition’s success.

Choosing the right expedition for the best possible photography means look-ing carefully at the ship and itinerary; a maximum of 100 passengers are allowed ashore at a time, so if the ship carries more, you’ll be required to wait and rotate ashore. The ship can be a fantastic platform for photography, but nothing beats time on land and in Zodiacs for composing landscapes and getting close to wildlife. Though longer itineraries are rare, and more expensive overall, itiner-aries that don’t rush deliver more shore time, thus more value. This is especially critical to the fi rst-time photographer,

whose senses will be overwhelmed by frenetic wildlife activity, changing light and many subjects to choose from. Zodiac cruising can be a particularly fantastic platform for photography for such subjects as penguins on ice; be sure the expedition brings enough high-quality expedition staff that you’ll have boats driven by naturalists who connect with what you need as a photographer. Ideally, the expedition will have enough Zodiacs and expedition staff who all can be out in boats at once.

If wildlife photography is your focus, there’s no better place than the island of South Georgia. Here, penguins, seals and albatross populate a landscape of jaw-dropping proportions. Be prepared to slow down; the photographer who moves fast will push animals around, causing disturbance and eliminating natural moments. Those who fi nd a good spot and sit quietly will catch moments of animal personality.

The prepared and inspired photogra-pher will bring home glorious, storied images. In the fi eld, where weather can punish people and gear, prepared means knowing your gear and traveling light while ashore with systems requiring minimal lens changing. This doesn’t mean leaving your big lens at home; a big lens can be fantastic, with exten-sion tubes for close-up detail work on a curious penguin’s neck. But most days you’ll be happiest and most able leav-

lan rough or weather is challenging, travel light for speed and safety. I regret to say that the single largest cause of injuries we’ve seen is from overloaded photographers trying to wield heavy packs

across diffi cult terrain. Don’t forget the little details. Bring a dry bag to protect camera gear while on the Zodiac—salt water and electronics make an un-happy mix. Bring multiple pairs of thin Windstopper® gloves that are comfort-able to photograph with, and waterproof overgloves to wear in wet and cold con-ditions. And if you want to work eye-level with penguins, bring knee pads and a willingness to scrub off the stink at the shoreline afterward.

Antarctica has become far more accessible than it was when Cheesemans’ Ecology Safaris started voyaging south. In this time, we’ve added elements like onboard photo critique sessions and postprocessing workshops to enrich the time at sea, but the heart of the matter remains: the fan-tastic images come home with the pho-tographer who does his or her home-work beforehand, and who has the eye and the motivation to pull out a camera when conditions are challenging. But beware: That once-in-a-lifetime expedi-tion can become addictive, leading you to look south again from the moment you disembark at voyage’s end. OP

Ted Cheeseman is owner and expedi-tion leader for Cheesemans’ Ecology Safaris, a 35-year-old wildlife expe-dition company specializing in high-quality photography and nature tours. Visit www.cheesemans.com/antarctica.

velSOUTH GEORGIAANTARCTICASeize the moment for great photos in extreme environments

BY TED CHEESEMAN | PHOTOGRAPHY BY HUGH ROSE

http://www.cheesemans.com/antarctica






Saturday Closed

092014


at your leisure

www.BandH.com


800-947-9953

212-444-6653

Fax:

212-239-7770

When in New York,




Page 8

August 5 ....................Closed


LensCoat makes unique, protective covers for camera lenses, bodies, and accessories. Made from 100% closed-cell neoprene, LensCoat products protect your gear from bumps and scratches, they keep rain and mist away from sensitive equipment, and they also insulate your hands from cold equipment.

"We've Got You Covered"

Other Innovations from LensCoat®

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X-Small ..2.75" to 3.25"

Small ......3.25" to 3.75"

Medium ..3.75" to 4.25"

Large ......4.25" to 4.75"

X-Large ..4.75" to 5.25"

2X-Large ..5.5" to 6.25"

3X-Large .....6.25" to 7"

4X-Large .....7" to 7.75"

LegCoat Wraps (set of 3)

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last frameC

lint

Ralp

h

Johnny Walker“My partner and I had made

our way up the steep mountain

to arrive every morning before

light to lay down some bones

on the cliff ledge to attract

these birds of prey,” explains

photographer Clint Ralph, who

caught this jackal buzzard in

KwaZulu-Natal, the

“garden province” of South

Africa, offering lush valleys

and peaks that are adjacent to

the nearby Indian Ocean. “We

did this for three days, with

the only visits from jackals,

baboons and pied crows. We

would get the odd fly-by by

bearded vultures, but no

landings, which is what we

were there for. Then, in the

final hour of sitting and

waiting for something to

happen, the “famous” jackal

buzzard you see here came

swooping in at a tremendous

speed. He landed a short

distance from the bones and

proceeded to march straight

to the collection while chasing

the pied crows out of his

way. Fortunately, for me, he

walked right toward me and I

photographed him on a small

rise in the ground that gave me

a good eye-level angle, which

added to the appeal of the shot.

At the time, I didn’t realize

that I had captured such an

unusual pose; however, on

getting off the mountain, I was

pleasantly surprised with this

very unique pose from such a

beautiful bird of prey.”

Canon EOS-1D X, Canon EF 500mm

ƒ/4.0L IS II USM telephoto


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When you come to Maine, you’re going to have an experience unlike any other. Take Mainer Barry Tripp, for example, who on any

given day is either snowboarding at Sugarloaf or riding the waves at Old Orchard Beach. You may find him taking in the

breathtaking scenery on the fairways of one of Maine’s gorgeous golf courses, or fly fishing on a sparkling river. In other words,

this isn’t just any place. This is a place where you can do more before sundown than you ever imagined.

Be inspired. Be adventurous. Be yourself. Discover your Maine Thing. To learn more, go to VisitMaine.com.

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Outdoor photographer september 2014 usa

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