The awards are coming into focus. ls an honor that DPReview.com, American Photo, Popular Photography and TIME" Magazine's 50 Best Inventions of 2010 all praised our cameras this year. The OLNEX-5, the world’s smallest and lightest interchangeable lens digital camera* and the 655, which shoots up to 10 frames per second and full HD video while maintaining continuous auto focus, have no problem letting their stunning images speak for themselves. But, it is nice to have someone else do the talking, “My verdict: It’s the best travel camera I’ve ever used.” Jefferson Graham, USA Today, Aug. 18, 2010 american Editor's Choice Award American Photo ONEX - 5 : so n0 Best of What's New 2010 2010 Breakthrough Product Award Popular Science Popular Mechanicsmake. belie, “It’s thrilling to see Sony finding its mojo again, introducing radical new design ideas that, in this case, really advance the state of the art.” -David Pogue, The New York Times, Sept. 22, 2010 Oss 2 MIE Gold Award 50 Best Inventions of 2010 DPReview.com TE: Magazine sony.com/alphaFlush Frames in Silver & Black MetalPrints”is a new art medium for printing photographs by infusing dyes directly into specially coated aluminum sheets. This creates an image with a magical luminescence, vibrant colors, and incredible detail. The surface is easy to clean, waterproof and scratch resistant. Choose from High Gloss, Satin, Sheer-Matte, or Sheer-Glossy surfaces. Available in a wide variety of sizes up to 40x60 with contemporary mounting and framing options. Learn more at www. yphoto.com/metalprints.Quality. Service. Innovation. b h WE'RE HERE FOR YOU! aypnotoFEATURES] 52 PATAGONIA: THE LAST WILD PLAGE The new book, Unknown Patagonia, tals the story of the precious and unexplored region of central Chilean Patagonia and the environmental threats it faces Tax Arg Protoorapny By Linde Waldhofer Zinc Lite Tejada-Flores 58 STOKING THE FLAME Inher “Ghosts of the West” project, Cheyenne Fuse reignitea her love of photography by embracing HOR Tax And Photography By Cheyenne L. Rouse 38 68 ASSIGNMENTS Displaying some of the best from our online Assignments Galletios 33 HOW-TO] 81 QUICK TIPS FOR USING A POLARIZER Get moee from the single most useful accessory in your bag 62 BOOST YOUR AF PERFORMANCE How to set up your camera and lens to get quick response ‘when you're shooting fast-moving subjects ike wife Tet Ana Ph 72 LONG-LENS TECHNIQUES How to use a big telephoto in the long-lens days of summer Tot And Photography By Moose Peterson 86 FINE-ART CAMERA PHONE PHOTOGRAPHY Using a bevy of sophisticated apps, Tony Sweet shows how to expand your creativity and make wall-worthy pictures ‘rom an iPhone Text And Protograpty By Tony SweetNNEC RRC RL PRC See a eC Maratea Pick YOUR CAMERA BACK UP AGAIN. RRO ean | FINISH STRONG.EQUIPMENT] 22 FIRST LOOK: NIKON D5100 A compact step-up DSLR with an excell 78 FIND YOUR WILDLIFE ACTION LENS. How to pick the right lans to match your photo is and your budget . By Mike Stensvold O 92 GADGET BAG: STRAPPED FOR PHOTOS. Replace the strap that came with your camera for tone that delivers all-day comfort and security 5y den Sienkiowicz ovuti 90 GEOTAGGING Use your location images PS as a comprehensive at and to share ith others ORE On The Web Favorite Places: Photoraphors fom all over the are sharing favorite nature photogrepty locations. You can, ta 0 Excting new products featured i (OP s In Focus section appear earier on the website. In adltion, Youll soe the latest news releases from many difrent photo ‘companies right aay 8 Outdoor Photo apher_ouloorphotographe.com feature set COLUMNS DEPARTMENTS 40 Toch Tips: 14 In This Issue Fade In 16 Cover Shot 2) Seenia tee 18 Showease 46 Photo Traveler: 32 In Focus Reactive Or Proactive? 50 Favorite Places: 5y Bob Krist Myrtle Island, ‘South Carolina 48 On Landscape: Morning Light 5y Wittam Nit 98 Travel & Workshops 105 OP Marketplace 130 Last Frame 32 outdoorphotographer.com Featuring posts from photographers Michael Cla, Michael Frye, Jay Goodrich, Jeny Monkman, Rob Sheppard and lan Shive ct with felon readers and discuss your passion for nature photography and outdoor adventures in ‘our Outdoor Photographer Forums,TAMRON USA Inc. woww.amron-usa.com —— Tamron Manufsturr of precise and sophisticated ' plea products Tora broad range of naustes New eyes forSHELLEY'S PRODUCT PICK‘ eae een ea Cts aan id playing lorge photo More tips and picks from Shelley at PC Sie) sper outcorpoteraphorcom nae ies ‘outdoorphotographer.com ¥ Christopher Robinson ‘Sir Eco Magaie Deveich, Wes Pits, Mike Stonevold oragn Ester Kim Gnatisbory (Copy Estos Tom O'Leary, J. 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Add in fast shipping ‘and outstanding customer service, how can you go wrong? Eos we a Arty eee BO So an et at ites Senta YAR t aa wie a Mac/PC » ROES“a <3 RE RT GPHoro BooKs FOR-SERI aes: GAT RAVELE RSS t oe \ & THe FINEST Ree g COFFEE TABLE BOOKS. THis Is THE PHoto Book YOU'VE BEEN LOOKING FOR PHOTOBOOK PRESS Rema con Te eee Production/Manutacturing Pica Consumer Marketing Business/Operations vero aon Foran emtanei ace ot back eseDo your images reflect your vision? Now they can...with HDR processing! Create the look you want with High Dynamic Range processing in Photomatix If you hove ever photographed « high-contrast scene, you know that even the best « sure will ypicolly have blown out highlights ond flat shadows. The sok this problem is igh Dynami {HDR} processing. Toke thiee or mote photos al varying exposure ols and load them info Photomatix softwere for merging into HDR. The resuling imoge reveols highlight ond shadow details end you may furher adjust ito your liking Vor tings and one-click presets let you get the lock you wont, from naturoHlooking to painterly, sureal ois effects. Make every image capture your vision with Photomatix, Available for Windows and Mac OS X 2 www.hdrsoft.comEvery new generation of cameras has improved the speed and accuracy of autofocus, but for all of that technology, AB i lll just a tool, cand like any too, its as good as the individual bebind the camera. hhen autofocus came out for single-lens-reflex cameras, it was a revelation that promised to put an end to countless dis- appointing, blurry photographs, Ithas been more than 25 years since the Minolta Maxxum 7000 with its fully integrated AP sys- tem (the AF sensors were in the camera body along with the lens’ focus drive motor), and for many photographers, it’s difficult to conceive of a time when you had to manually focus every shot. For nature photography, AF has been noth- ing short of revolutionary. No other camera fea- ture has made as much of a positive impact on the number of “keepers” over the years. Exery new generation of cameras has improved the speed and accuracy of autofocus, but for all of that technology, AF is still just a tool, and like any tool, it's only as good as the individual behit the camera. In this issue, we have an outstanding autcle by Mike Stensvold about getting better performance out of your AF system. I've worked with Mike for more than 15 years, and his history in photography and magazines goes back to almost before I was bom, It’s no exaggeration to say that you'd be hard-pressed to find anyone, anywhere, ‘who has seen and used more cameras, lenses and AF systems than Mike. He also has a pas- sion for photographing birds, which are perhaps the most notoriously difficult subjects for any AB system, Read “Boost Your AF Performance.” 14. Outdoor Photographer eutoarphatgrapneccan Mike’s suggestions will help anyone get the best possible performance and the most sharp photos from a DSLR. Big telephoto lenses always make an impres- sion, and when used properly, the images they create are stunning. Wildlife photographer and all-around long-lens expert Moose Peterson shows you how to use good technique with th behemoths of glass, metal and cireuitry in “Long Lens Technigues.” Peterson’s tips don't just apply to wildlife photography: they’re useful for any situation when you're breaking out the big glass. Finding the best lenses for wildlife and action ‘ean be daunting. There are so many choices, and the manufacturers provide a dizzying collection ‘of specs with them. To help you make the best choices, we've put together an article that explains the most important features and specifications, and explains how each one plays a role. In “Find Your Wildlife Action Lens.” we also include a chart that’s broken down by price and only includes ‘hat we feel are the most useful specs. Over the past couple of years or so, the inter- est in HDR has exploded among photography enthusiasts. In OP, we've focused on the subtle use of HDR to create photos that defeat the tim- itations of film or image sensors. In this issue, however, we feature an article by Cheyenne L. Rouse that gets into the more extreme HDR look Rouse has found that experimenting at the far ends ofthe high dynamic range spectrum has been 4 creative spark and has made her completely rethink the fundamentals of photography. Take a look at “Stoking The Flame.” Even if you're not interested in the wild look of her photographs, Rouse has some interesting things to say about photography, art and the creative process This issue also has a special insert announc- ing the second annual Sony Art Of Expression Photo And Video Contest. We renamed the pro- ‘gram this year to reflect the revolution of having HD video in a still camera and our new video category. Take look at the contest announce- ment and go online at www.outdoorphotographer ccomexpressions fo see video tips from the Sony Artisans OF Imagery on how to make contest- winning photos and videos. Speaking of online, the OP Assignments Galleries continue to grow, and once again I've picked a few particularly interesting photos from the galleries to publish in the magazine, If you haven't submitted images to an Assignment Gallery, check them out at www.outdoorphotographer.com/ gallery/assigniments, and send in some pictures. PIL be looking for images to publish in each issue. Also, if you have ideas on future Assignments, send them, along with any other suggestions and comments, to editors@ outdoorphotographer.com, Christopher Robinson, EditorTHE WORDS “BIG” AND “DSLR” NO LONGER GO HAND IN HAND. PRU ee a eens interchangeable lens camera yet, and it does it all. With Rete ie ten PR Ye oder Rel Rer tia) micro camera is anything but. panasonic.com/lumix Panasonic TCR OO eT aoe . Introducing the LUMIX® GF2, designed to let you live in i " LumixStrength. Functionality. Aesthetics. Sed ‘equal importance. in designing th Bree ares ue ee) Te ei) a a a Photographer: Jack Dykinga Location: Tamaulipas, Mexico Equipment: Arca-Swiss F-Field camera, Schneider 80mm Super Symmar lens, Gitzo GT3540XLS tripod, Really Right Stuff BH-5S ballbead, Fujichrome Velvia Situation: For most casual observers, the Chihuahuan Desert in northern “Mexico is a dry, desolate landscape most famous for illegal border erossings than plant life, but for a photographer like Jack Dykinga this desert, like all des isa thriving ecosystem. Dykinga is both a master photographer and a student of the environment. Where some see hard pan and scrub brush, he sees niches for fauna and flora ‘The photograph on the cover of this issue shows blooming barrel cacti and giant yuccas in the state of Tamaulipas ‘The photograph was taken as part of a book project documenting the biodi- versity ofthis portion of the Chihuahuan Desert. At one time, it’s thought, the Chihuahuan Desert was possibly the most biodiverse desert in the world, but grazing and other factors have signifi- cantly recticed the populations and vari- ties of species. The Mexican wolf, for example, used to roam most of this desert, but is now all but extinct Nature photographers are in a unique position to record changes in landscapes like this. We're naturally drawn back to the same places year after year, and our images reveal the changes in rich detail. Dykinga, who makes his home in the desert Southwest of the US., has a true affinity for landscapes like this, and his ever-growing archive stands asa history of these environments,th Whether you ae re tenlargements of 200%, 8% or even 800% with ma oxen ual Ti blown eway by how anesoine Perfect Rette/ i Leized » 3 inch prin to 90 rhe tall re the salty is smazi, The naw amacthing cantal and the sharpeting opt hge ference by providing ineedise deta and smoothness in thee lent aml ncn ae Fire At htop = onOne [Esch download and nurchaee of Perfect Reese 7 ncuse 9 pain that wore wth Photothon,Lishtrocm and Aero ft wellau 3 standalone sphcation slowing you to get perfect elorgerents na meter whst your wenfow maybe. Software iS fs 3 g = raie es—-—— en ell met You Don ee eo eee a about the right kind of paper for the application, on-time Barats Rohe SRM DAs uae! Soe har ta ool eee) eee Mem eae ROM ade ash ues cud ines hese | Sa cn eae es brianhampt fers Experience the LexJet difference. .. 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Schartg tite sone koe re nd eo Ment: cpanel care ow san Oe os, $2000 HEichiecien it aterm terse HF 5st Mato sige ee iO Wc Shite speeds: coma HOR oot 30s ‘usin nw ore re alge DE 10 eting: cette poe ve Ens mi expendable to 25,600 ee etna Fig Mote tps Yardage co Aecrdng Format ise tree ot NEF aN rita ta te Metering Soto tse coo {ogo ROB eva soltyene Ost pete — | ‘Storage Media: y ll-Chaning Sensor Ua S050 SDHC ebectiestceeereren Power ree ad pe Rerbogete ELE nay SGrteteay rome vba Ihara battery eg eee Gimensions: shooters we frequen oo y Essential Accessories 127 ances Estimated Street Price: -< Memery Care a << Camera Bag $898 th 18 SS Ro) fate he fetona: Eon 09 Conia Cine DO me fas ty ogc re fee yee eps some O3i sgn $c, (00 to abs tows ad Sees Gis ete) Fret panne soca 6 bet ena pr e 15 HOV hea a 22 Outdoor PhotographMth AG eM cea Nee L te) (910m 0) cera Se eae - Caen acer eee LL We i Kerem Ae Aa ove) Co PaGR Marea am aa | Peet Teer Sau Pag atts + Help Desk support and ady + Active member community eee err TL) ei led atom uncon oT. 8.8513 OR VISIT US COICO Oats men , eA Sy ext eeLEARN. ENTER. Cristina Mittermeier ses her background in se nd her talents as an artist to craft images with 2 message of conservation and protec: tion of the Earth's people and resources. As the chairwoman of the International League of Conservation Photographers, she uses her photographs to encourage and inspire others to contribute to making a better planet. By showing you how ta see cultures and environments as being part of one world, she'll show you how to create images that'll make a postive difference THE EXPRESSIVE PORTRAIT > Brian Smith captuies the essence of a person in fleeting moments of expression. Working with celebrities, athletes and hi ies, he draws out instants when they reveal their character and give a hint at their soul. To make a well-cratted portrait that defines the indi Vidual, first Smith makes @ connection with the person, then he selges the moment and the shutter button when it all comes together. He will show you techniques for cre: ating expressive portraits in the studio or on location <4 THE NARRATIVE VIDEO David McLain is a natural visual stoy- teller, Trough stil phetographs and mation video he deftly bulls a raratve where action and cond tion coalesce into an engaging try. Reflecting the cuentrevolton in HD DSLRs, bl hep guide neo phytes and experienced video shooters alite, fom capture techies tothe edting process, 1 bud Your ov narrative videos. ORL SONY eee oe)OF EXPRESSION PHOTO & VIDEO CONTEST \ Enter To Win Now! Go online to submit your best photos— and win great prizes! Visit outdoorphotographer.com/ expressions for more information about contest details and categories. ea GME ee eee ere Sete DU a eRe SONY «SL1-A55 &« SLT-A33 Get the best of all worlds with this pair of advanced DSLRs that SRST Mees ACM RTC Cons eo em Ce Mm Amazing fixed, translucent mirror technology gives you full-time phase-detect AF in all still and HD video modes. FIXED-MIRROR DESIGN eee eng fearing tment TURE Sun aos ee Ge as ] Seer en cet aia ‘the subject contnuously—there's no lss of contact eid Te Sees Sere ee: peta et eer mode's, prt ofa range of lenses eee es eo ee ee eae ee lens a stabilized lens. bee ee eA ee 24 eee ey Poke re ee ce heen ee] tools to enhance your ceatve options. Faia treet a een eee erent be Ee eae full 1080p HD video, Continuous phase-detect ee ee ie and an input for an external mic thtaking horizontal of vertical images, See een gee Y at Sct at LEARN MORE For complete details on the Sony &SLT-ASS and SLT-A33 and A-mount lenses, visit Ri Sie OrGet more from the single most useful accessory in your bag he one accessory you're likely to find in any professional nature pho- tographer's camera bag is a polar- izet. No matter the camera type or brand, from large-format film shooters to DSLR users, everyone has polarizer, and many pros carry a few different types. The rea- son is simple: Polarizers make a scene ook better by increasing saturation, reduc- ing or eliminating glare and, in part lar, darkening down a washed-out, rmilquetoast cyan sky to crisp slate blue Polarizers remain popular even in this For Using A Polarizer age of Photoshop because their BB cifects are very difficult to sim- BM ulate. There are a few software Bag programs that do a decent job, BEE but no postprocessing will beat the real thing. As good as they are, to use polarizers effectively, you need to know their limi- tations and quirks. The filters ‘work by only allowing light waves that are oriented in a narrow range of directions to pass through it. Think of a picket fence. In nature, light rays are oriented in all df= ferent directions. A picket fence, where the pickets are close together, would block all of those rays except for those traveling in a very vertical orientation. Whenever light reflects Fay off a surface, it becomes lights often seen as glare. For example, here in California, we sometimes ‘get a magnificent poppy ‘bloom in the spring. The B poppies open up as the day heats up and the sun climbs in the sky, and you often get a lot of glare from the sunlight reflected off the petals, which have a slight sheen. ‘That glare is all polarized, and by apply- ing a polarizer to the camera, the glare can be reduced or eliminated, and the rich orange color comes through. The same effect can be seen when youre pho- {ographing a wet rock. The light reflect- ing of the rock can create an objectionable ‘are, but by using the polarizer, you can eliminate it almost completely. When it comes to darkening down the sky, light is reflecting off of tiny water droplets in the atmosphere, All of those reflections are polarized, but because there are so many droplets, the effect is light rays traveling at all different angles, When ‘you apply a polarizer, you can filter out most of those rays and you get a darker sky. But polarizers don't wive the same effect everywhere in the sky. The effect is strongest at 90° from the sun, When ‘you get closer or farther from the sun, the effect drops off significantly. oF Unless you have a manual camera, use accircular polarizer, Linear polarizers, create problems for AF systems, If you're using a polarizer, even with the instant review of the LOD on a DSLR, i's {a good idea to take a photo without the polarizer as well. Sometimes the fiter will create an unanticipated effect that you won't natice on the small LOD, If you'r trying to darken down the sky, you can find 90° from the sun by making an “L" with your thumb and forefinger. Point one of them at the sun, and the other wll be pointed about 90° from it. You can rotate your wrist and see the full arc where you'll be 90° from the sun. Beware when shooting with wide- ‘angle lenses. Because of the 90° rule, a wide-angle lens often will show wild variation in the sky, Look carefully through the viewfinder 'as you rotate the filter. Rotate back and forth, looking at the whole frame, commer to corner and edge to edge. The effect varies on every surface in the frame. Because polarizers are frequently quite thick, beware of vignetting. Choosing a thin polarizer helps, obviously, but the thinner models also tend to cost more For even greater effects, consider a color polarizer. A few examples are the Singh-Ray Gold-N-Blue polarizer, the HOYA PL-Golor polarizer, the Heliopan Kaesemann Warm Linear polarizer, the Tiffen Warm Linear polarizer and the BW Warm polarizer. ‘outoorpetegraphaccem June 2011.31> O and 24 fps with ful-time autofocus tral. Nikon is releasing its ME-1 ‘microphone (sold separately) for taking full advantage of the camera's video capabilties. Other key features include a S-inch, 921,000-dot Vari-angle LOD that rotates 180° Vision made offering ight capabilty that allows the camera to shoot at IS 102,400, and full manual controls. Estimated Sit 3 foody only); $809 Contact: Nikon, (800) NIKON-US, www. nikonusa.com. 1080p HD video at ‘and manual horizontally and vertcaly, a Night k < s and 6 TB o storage, the dual-crive Wester Digital | MyBook Studios more thn epee of nang our lege HO veo and performance For Mac users, the by WD's GreenPower power than without a fan. Estimat (949) 672-7000, wwvi.westerndigital.com. Don't let a tle spring rain get in your way. Zip up the lightweight Marmot Storm Shield rain jacket, which features waterproof, breathable PreCip fabric that blocks out water whie allowing evaporating sweat to pass through. Fully taped sears prevent rain from dripping down the fabric and through the jonts, Mesh ining separates tha shal fabric from your body to improve air Circulation and fereathabilty. A storm flap features a hook-and-ioop closure ‘system to keap rain from coming in ‘through the main zipper. Estimated Siroet Price: $125. Contact: Marmot, (707) 544-4500, www.marmot.com. ‘to fles, The drive feat and FireWire 400 and USB 2 tandard dual-crive external storage systems and runs qui es eSATA and Freltire 800 for maximizing when you need more flexibly h Time Machine. Powered third lass ive is now compatible Technology, it consumes al d Street Price: $549. Contact: Wester Digital, With builtin GPS navigation, the Tech40 Discover watch wil koep you from getting lost on your next fiko, Robust signal strength allows the watch to track and display the tance covered and your average soeed, as well as providing a smart lap function to auto-map a route, Alttude and other data are collected ‘and can be viewed on the watch's customizable LED display. The data is also recorded to an internal Clalabank for tracking statistics over tine. When you get home, use the included PC-compatible software that works with Google Earth to upload your route and get more information. Estimated Strest Price: $199. Contact: Tech4O, (800) 572-8822, vrun.tecto.com.LIGt A To create more mood or drama in your landscape shots, try adding the Rogue Grid from Expolmaging to your flash. The lighting device produces three different honeycomb grid angles of 45° and 26°, and can be stacked to create a 16° angle. The angle Of the grid determines the eize of the spot projacted forward, with smaller-degree grids praducing smaller spots and larger angles, producing larger spots. A modular design makes changing the {rid angles or adding lighting gels easy to do. Weighing just 3.5, ‘ouness, the compact grid comes with a convenient nylon pouch for easy storage in your backpack and an adjustable tension strap for attaching it to your fash. Estimated Street Price: $49, Sxpolmaging, (800) 446-5086, wvw.expoimaging.com. c v Gain more perspective control with the new lineup of PC-TS lenses from Schneider Optics. Three models ar ‘Super Angulon f/2.8 50mm and Makro-Symmar f/4.0 90mm. PO-TS lenses for DSLRs, and the Apo-Digitar 5.6/120 HM. ‘Aspheric lens for the medium-format Mamiya/Phase One digital camera system. The lenses can shift laterally up to 12mm or tit at an angle of up to 8°. These movements can be appked in 30° increments at any position within the 360° lens rotation and with @ 90mm image circle for DSLRs and 120mm for medium- format cameras. The lenses retain the ful range of maverents without vignetting Estimated Street Price: TEA, Contact: Schneider Optics, (G18 766-3715, \wunw.schneideroptics.com. Pitch the Mountain Hardwear Lightpath 2 tent on your next ‘camping tip. Tight construction with waterproof polyurethane coatings and seam welding wil hp keep you dry iit starts raring. Seal out the weather after you core through the dry 4, ety vestibule by zipping up the dul sider doors. The sturcy, igntweight ‘aluminum pole system won't weigh your bag down. The two-person, three-season tent weighs ust less than four pounds and has 1 foor area of 30 square feet Estimated Strat Price: 5, Contact: Mountain S Hardwear, (877) 927-5649, ‘ynvwmountainharGwear.com, You can carry the Tamrac Evolution 9 as right or left shoulder. Gear is accessivie| through doors on teach side of the pack when i's worn over the shoulder. There also a front panel that provides entry to your ‘camera when the pack is remaved, The main compartment holds a DSLR with @ grip and up to an 8%.inch lens attached, as well as several more lenses, a flash and Up to a 17.3:inch laptop, which is hel in the rear laptop pocket. Also included are a clip for holding a tripod and a removable rain cover. Estimated Street Price: $259. Contact: Tamrac, (800) 662-0717, vrww.tamrac. com, Hit the tralhead weating the ‘Columbia Firelane Mia Omni-Tech hiking shoes. Thanks toamid-cut ‘and Omni Tech watemproot breathabla protection, the ccomty hikers are ideal for day hikes and light muttiday trios, “The dualdensty Contour Comfort footbed and molded EVA ‘midsole cushion your foot, while an intemal shank provides: torsional support when you're trekking across rough torrain. “The OmniGrip rubber outsole provides sold traction in any ‘weather. Estimated Street Price: $95. Contact: Columbia, (200) 622-6953, ww.columbla.com,Taking a backup camera on a trip gives you a ile insurance in case your primary shooter maifunctions, Given space constraints, a compact can be the most ideal way to go. The Sony Cyber-shot DSC-HX100V, which comes with a 27mm Carl Zeiss Vario-Sonar T lens, packs plenty of high-end features, In 35mm format, the lens is equivalent to 27-810mm allowing you to zoom in on far-off wildife, and it has a manual control ring for adjusting focus or zoom. Optical SteadyShot stabilization keeps images steady at those long focal lengths. The controls on the 16.2-megapixel shooter are laid out much lke an SLR, In intaligent Sweep Panorama HR (High Resolution) made, you can capture panoramic shots of up to 42.9 megapixels, Estimated Street Price: $450. Contact: Sony, (877) 865-7669, www.sonystyle.com, Unexpected: 30 Years of Patagonia Catalog Photography by Jane Sievert and Jennifer Ridgeway (Patagonia Inc., 2010; ISBN: 978-0-97906-595-6). Hall of the Patagonia catalog is devoted to displaying extraordinary photographs of wid places and acti pursuits for which the compary makes its clathes. This hardeavor includes more than 100 of the most compeling photas Patagonia has published since 1980. Digital Photographer's Complete Guide to HD Video vy Rob ‘Sheppard and Michael Guncheon (Lark Books, 2011; ISBN: 978-1-60059-69-5). From gear and shooting techniques to ‘aiting and outpuiting video fles, this up-to-date guide lls you in fon the basics of capturing video. Sheppard and Guncheon are longtime cigital experts and contributors to HOVideoPr magazine. v Novotlex ballheads are known for their high precision, stabilty and campact construction. The latest model, the Ball NO, is no different. The easy-to-move ball alows for 360° rotation, it can be locked in any positon using a lever lock, and an integrated level helps to align the ‘camera in just the right position. The head can support Up to 15 pounds and is equipped with a quick-release Q-Mount, which accepts Arca-compatioie plates. It weighs fone pound and measures 3.1x2x3 inches. Estimated Sireet Price: $357. Contact: HP Marketing Corp., (800) 735-4373, womw.hpmarkelingcorp.com, Deadly Instinct ty Melissa Farts (National Geographic, 0-725-5), Showcasing extraordinary photography 1nd their prey, the book gives a breathtaking look ‘at matters of Ife ancl death in the animal Kingdom. In addtion to the images, there aro candid intoniaws with the renawns willie photographers who took them along with current information on the feld of wildlife scence. The Art and Business of Photography by Susan Carr (Alworth Press, 201 1; ISBN: 978-158115759-8). A professional Photographer and former ASMP president, Carr delves into the realites of the photography industry. Tooics include how to balance being an artist and a businessperson, the basics of ‘copyright, prcing skils, how to find future opportunites, and the importance of craft and creathty. ‘The Art of iPhoneography: A Guide to Mobile Creativity by Stephanie C. Roberts (Phig, 2011; ISBN: 978-1 -60r 1923-1), This handy manual shows you how to make the ‘most of your iPhone’s camera Capabilities. Lear the basics of shooting, sharing and backing Up your Images, as well as ‘apps to load for the most ‘creative results. at< Give your outdoor lighting setup a boost with the TritonFlash ‘rom Photoflex. Deivering ful:power flashes on a single charge, the strobe has eighs 22 ounces ower two Teton simultaneously without cutting the power stput in halt. Each head stil produces f kit for cable-tree strobe fring and an intemational battery ch flex, (800) 486-2674 vewre_photoflex.com. ge > ‘Sometimes nature doesn’t cooperate wit shooting plans. If you find yoursel trying to capture landsc a day when the natural light isn’t working, put the Heliopan High Transmission SH-PMC circular polarizer (on your lens to help rake he fiter maintains the same effec the stand: but loses less with a filer factor of 2.0 instead af 2.5. This tran The SH-PMG c light to pass through to the image plano with the top layer repeling dust and moisture. Available in screw-in sizes 46mm to 82mm in standard and sim brass mounts, the polarizer works without vignetting even when used with extreme wide-angles. Estimated Si 8 (7mm), Contact: Heliopan, (800 wea hpmarketingcorp.com. < With the DSLR-sized FOVEON X3 sensor, the Sigma DP2x primary (red, gree and blue or RGB) a pixal site. A new a that produces imai rich tones and hig the TRUE image-processing engine. The fast 24.2mm {/2.8 lens is equivalent to 44mm in ‘35mm format and has the Super Multi Layer Coating that to reduce flare and ghosting. You ¢an record stis in JP% Movie Mode records in QVGA (820x240) format, Estim Contact: Sigma, (600) igmaphot RAW format, ar cc Siroet Price: § New eyes for indust Lighter Faster Smaller SIElsesl6 POT e Uae oee el Tamron specialty! BTC ere) Ay ‘The new Tamron 18-270mm 15x ee ee eee performance and speed with the See ae en ape ae d on an advanced Se Ee Roar Dee eee SNe) Beery June 2011Ink J want to make you lure photography look more dynami ting the mast out of your Iighting accessories, The Gary Fong Lightsphere Collapsible kit is a worthy option portability and power are of equal importance. There af frsions, basic and pro, and both kits are built around) Lightsphere Collapsible difuser, which attaches to your fash wlthout a strap oF band, In adltion to the Ea difuser, the basic kit includes the ‘The Lensbaby 25mm optic & the creative lens White Dome, AmberDome and makers frst and only model have an itera ChromeDome accessories Ny 12-blade adustable apertixe that goes from #/2.5 The domes fit over the 722. Rotating the aperiure dal creates a sweet spo diffuser for warming up > sharp focus that you can move around by tilting light or increasing output, The basic Kit also comes with gels for adding color. The pra version adds the chrome-plated verSnoot with imated Street , of the total imag on AP: “The optic focuses down to 7.5 inches from the front of the lens when used with arid for creating more dramatic lighting 08: $119 (basic); $169 (pro). Contact: C (CALL 1.800.CALUMET (225.8638) Or visit us at calumetphoto.com —* some restrictions apply on free shipping offer. Pere 36 Outdoor Photographer outsoorpetograpnercomé TED > Ifa laptop, an iPod, an external hard crive and other gadgets are essential when you trek outdoors, the Lowepro CompuDay Photo bags are designed 4 to cary all of those items and more. An adjustable padded camera compartment holds a compact DSLR with an attached lens and up to a 15.6-inch laptop, plus a cell phone, an iPod or MPS player, a portable hard five and other extras. The DSLR chamber can be adjusted for a snug fit fin the cinch strap, When the camera is removed, the chamber collapses ‘to create more room. A side packet gives you quick access to your DSLR for on-the-go, grab-and-shoot situations. The GompuDay Photo 250 is 2 tracitional backpack, and the 150 is a messenger bag. Estimated Street Price: TBA. Contact: Lowepro, (800) 800-LOWE, www.lowepro.comn. a ‘The Kodak Professional Portra 160 has a significantly finer grain structure for a 160-speed color-negative film, Advanced Cubic Emulsions help to achieve the finer grain for improved scanning and enlargement as well as sharpness, The fim, which will be avalable in 35mm, 120/220, 4x5 and 8x10 formats, does away with the NC (Natural Color) and VC (Vivid Color) demarcations of previous Porta fms, Estimated Street Price: TBA. Contact: Kodak, (800) 236-6325, www kodak.com/go‘professional Spee: $4900 | Spek: a EF oni di a Spyder www.datacolor.com datacolormmm« The Induro Adventure AKP Series Tripod Kits are designed for ease and nvenience, bath of which are needed when shooting outside, Non-rotating aluminum aloy logs with 2 quick fip-lock system make selup simple, and a three-way panhes delivers precise camera postoning, as well as a snap-in quick-release plate for fast operation. Three models are avaiable, the compact four-leg section ‘AKPO and the heavy-clty, three-leg section AKP1 and AKP2. An ‘oversized, center-column locking colar provides a better gro anc 2s vibration. A closed am tip delivers comfortable nandling in oold or wet weather, Estimated Streat Price: $164 to $219, Contact: Induro, (914) 34% wow indurog CALL 1.800.CALUMET (225.2638) or vi 38. Qutcloor Photographer autsoorpetographorcom us at calumetphoto.com 3d to travel Ighter, the Olympus SZ-30MR can capture 1080p HD video and 16-megapixel stils at the same time. The camera has ne equivalent of 25-600mm in 86mm format. The dual TruePic ll image processor is what alows you to record in more than one mode and in multiple combinations. For example, you can record movies from a wide angle and up close, or in full HD and at a lower resolution, or Lnftered and fitered using one of the SZ-30MR's eight Magic Fiters, The backit CMOS sensor lets you shoot in ow light, and you can capture fulhresolution images at 9 fps. Estimated Street Price: $399. Contact: oh -4448, worw.getolympus.comPORTABLE POWER ‘The DIGIPOWER TC-55 digital camera travel charger works for all Canon, Nikon, Sony, Olympus, Ful, Kodak, Casio, Panasonic and Samsung models. IntellCharge technology allows you to simply insert your camera battery into the slot and the TC-85 begins charging. It also works as a USB AC wall charger for cel phones ‘and other mobile devices. It features 90-240 volts AC for worldwide use and comes with an adapter for use in Europe, as well as a flip-up plug. Estimated Street Price: $49. Contact: Mizco International, (600) 266-4026, www.mizco.com. © BRACKET For macro shooters, the Flashpoint O-Shape Twin Flash Bracket (FABO) consisis of two C-shaped tracks that form an O for attaching two flash units as desired. The bracket 's an ideal solution for producing light from multiple angles, The flash units can be placed vertically or horizontally depending on what the situation cals for. The length of the bottom bar is extendable for matching ferent lenses of varying lengths. Estimated Street Price: $26. Contact: Flashpoint, (600) 223-2500, www.adorama.com, ee eee ee Cae Lee ee Ce CO a Ce ee ee ed Cet ga ee Ea re em een oa <5 AON A a Lean) ‘nationalgeographic.com/books Pca th outdoorpotographercom June 2011 39Fade In Filters On Filters Iwas photographing along the coast, doing studies of the surf. To lengthen the exposures, I used a Fader filter and a polarizer on my 70-200mm f72.8 lens. Alll the photographs from the shoot were unsharp! I practice good technique, use a tripod, lock up the mirror and usually get much better results. What happened? Hi Pati Via the Internet ‘The more pieces of glass you place between your fens and your subject, the greater the chance of degrada tion of image sharpness and color. For this reason, I ‘would never advise using more than one filter at a time. The deterioration of the image is emphasized with telephoto lenses, 50 it's especially important to use the highest possible qual- ity filters on those optics. Fader filters, and other adjustable neutral-density filters, actually atain their wide range of vari- able neutral density by placing two polarizing filters together and rotating them to achieve cross-polarization, My colleague Vincent Laforet has tested the Faders alongside other high- 40 Outdoor Phovosrapher eutaortetaphercom Filters On Filters ¢ How Big Can | Go? ¢ Focus On Flowers [ By George D. Lepp With Kathryn Vincent Lepp | With the Canon EF 100-400mm lens set to 200mm and a Singh-Ray Vari-NDO filter, a “second | exposure renders this rock ‘along the California coast sharp, while the water ‘shows movement. This ‘image represents the outer limits of the lens’ capability 10 retain sharpness when working witha variable ewtal-density filter. end filters and found the Faders to be less sharp by compar- ison, but stil, in his opinion, well suited for DSLR’ HD video capture (sce Vincent's blog at blog.vincentlaforet.com/ 2010/11/24/fader-filters/). It appears to me, however, that the ifference would be quite noticeable in a still image. In your case, you've added a Fader filter (actually two fil ters) snd a third polarizing fiter on a 70-200mm medium tele- photo lens—thus the lack of sharpness in your captures. AS a side note, F've used Singh-Ray’s Vari-ND filter, a variable neutral-density filter using two polarizers, for several years with excellent results up t© 200mm. My advice is that the next time you want to slow down exposures to a significant degree with your 70-200mm lens, you may want (0 use a sin- gle ND filter with significant darkening power (3 to 5 stops) and the lowest ISO possible — +) MORE On The Web (OP eluate avail aan aie one snr autoorhologaptetcomlckanes, Fes tps arses aac Nom OP soo Sable wai ees rate egg —_—Ohare a ue NNR Na CNRS oe gree aR) aoe eRe Mn eMC Mogi eel rok Rte acum a renee eens eee et clic age Maaco Pee ere ceee ue keen alee a moto nae ‘Outdoor Photographer readers get DOWNLOAD YOUR FREE TRIAL NOW! GS a eg www. PORTRAITPROFESSIONAL.COM YKG3H when buying online. ; ; Wi PortraitProfessional10Eins How Big Can 1 Go? Inaprevious issue of OP, Tread that a camera with a native res- olution of 16 MP can make a print up to 11x16 inches. On the other hand, the instruction manual for my 12 MP Canon PowerShot SX20 says that at its largest file-size setting, prints can be ‘made up to 1620, Moreover, Ihave made 13x19 prints with the SX20 that seemed very sharp and detailed to me. How many pixels ave needed for specific print sizes? J. Trammell Via the Internet It depends. First, all megapix- A Staten cat it have considera Sors than compact eameras such asthe Canon PowerShot SX20, When the pix- els are packed onto a small sensor ver sus the larger one, comparatively more ve’ Evolution Series Boctpack coat Stone he Bration 8 roel 5 Tamrac’s new Evolution Series ‘ing Pack orlet Shar backpacks provide an unprecedented level of versatility. With their unique Front eves harness system, the Evolution Series backpacks can be carried three ways while Tamrac’ Triple Access System” provides three ways to access your (gear. In addition to a DSLR with a lens attached, the Evolution 8 ako cates a laptop, tripod, and other accessories and personal items Fora FREE 80 page Color Catalog, call toll-free @tamrac Seen Wace Taco) 1-800-662-0717 42 Outdoor Photographer autdorpetographorcam LUGGAGE & COMPUTER CASES noise is usually the result, and that trans- lates to less detail and color fidelity Second, different printers offer more or less capability for quality enlargement. A multiple-funetion desktop printer intended for quick, small prints and text won't produce the same quality as a Printer designed for professional enlarge- ments using a larger range of ink col- (rs. Third, the media on which the print is made can emphasize or obscure detail and affect the acceptable print Finally, all photographers don’t judge the quality of a print by the same stan- dards. These variables are at the heart of disagreement about how large a print can be made from a particular-sized fle. ‘Twelve megapixels on any-sized sen- sor will prouce a the highest quality set- ting a file of 36 megabytes (8-bit). IF you print the file straight out ofthe camera at 300 dpi, you'll get an image of approx- imately 8x10 inches. Note that some print- ers are optimized at 200 dpi and will make larger print from the same-sized file. To make larger prints, we instruct our image- processing software to interpolate the file to a larger size. The software essentially fill in the spaces between the pixels as the overall image is expanded. Here’s ‘where the size of the sensor makes a dif- ference because each of the 12 megapix- els on the DSLR sensor isk 12 megapixels on the compact camera sensor, and the data gathered by those larger pixels is of higher quality. How large can you go? Stop before the file begins to fall apart, that is, where degra- dltion ofthe image’s color and sharpness are noticeable, And note that some spe- cialty interpolation software, sich as onOne Software's Perfect Resize and Ben Vista’s PhotoZoom Pro 4, can significantly improve the quality of your enlarged files and facilitate larger prints ‘The medium you're printing on can make a big difference in both the artistic interpretation and the acceptable enlarge- ment size of your image. Highly textured and absorbent papers, stich as watercolor stocks, soften the image. Because detail isnt the goal in a watercolor image, you can print them larger. The rough surface of canvas also softens details and slightly mutes the colors. A sharply detailed, brightly colored rendition is best printed fon a hard-surfaced, smooth medium as in a gloss or semi-gloss paper. These stocks are unforgiving; they will reveal every flaw in your image, and bigger prints only will maximize the failings.Judging from your photography, maybeit’stimeto it up. isp OI Ee Si |) com icieas ba alice Gitte Eecad ma! HAVE YOU HEARD THAT MPIX HAS Poet zenfolio > CALLING ALL CAMERA CLUBS oud Discounts to Members GET MORE DETAILS AT: wernerpublishing.com/camera-clubs| Photo MSUECiersphotoero 44 Outdoor Photographer autsorpetographorcam A spray of bush lupine is isolated from the field when photographed with a medium tele- photo (Canon EF 180mm macro) set to /5.6. As the creator of an image, it's up to you to determine how your vision is best conveyed to others in the form of prints, Still, one way to educate your- self about print quality is to pay criti- cal attention to the work of others. Look for clarity and color, and che telltale noise and lack of sharpness— even pixilation (jagged edges)—that say a file has been stretched to the point that it falls apart. Go to high-quality, established photographic galleries to see quality prints; an excellent example is the Tom Mangelsen “Images of Nature’ galleries across the country, for the Focus On Flowers T really like the treatment you give to field flowers, such as poppies and tulips, where you focus on one flower or a smalt group of flowers with the foreground and back- ground blurred. How do you do that? P Jonas Via the Internet It’s a technique called selective focus, used to emphasize one plane of sharpness in a scene. The focal length and f-stop ofthe lens are the factors that control the range of focus and the amount and look of the blurred fea- tures inthe background and/or foreground. A telephoto lens of 200mm or longer isthe tool to star with because telephoto lenses have a narrow depth of field when photographing relatively close to a sub- ject. A wide-angle lens positioned close to the subject will fill the frame, but also will capture any background distractions quite clearly. A telephoto lens positioned to fill the frame with the same subject will be farther away, but will throw any- thing in the background out of focus. The longer the telephoto, the narrower the depth o field the lens maintains when used in this manner. I've been known to use a 500mm j/4 lens to photograph individual flowers from a considerable distance in order to apply this effect. ‘Telephoto lenses can be made to focus at a closer distance by adding an exten- n tube between the lens and the can cra, My favorite setup For these te is a 100-400mm zoom with a extension tube Adjusting the f-stop (aperture) of the lens gives you some flexibility in interpretation of the subject and the background. A smaller f-stop (J/8) will expand the depth of field somewhat for a larger flower or a group of flowers, but it also will begin to capture detail in the background. I often set the tele- photo lens at its largest opening (e.g fi) to minimize the depth of field and expand the unsharp atea, but at this aperture, you must be certain to aceu- rately position the sharpness on the sub- ject you want to emphasize. A third factor that some photogra- phers feel is important is the shape of the lens aperture; as you stop down, the lens opening is less found, so this alters the shape of highlights of the out-of- focus background, Personally, I don’t think this is a critical factor, but some investin very expensive lenses that mai tain a completely round aperture. In considering the composition of selective-focus images, I frequently look for foreground elements, as well as back- ground elements, that can be thrown out of focus. This gives the image more dopth, and ifthe foreground is ve to the lens, puts a color wash in front of the subject that leads the viewer to it. 0° For information about upcoming semi- ars and digital-imaging workshops, visie wwwigeorgelepp.com. If you have any tips oF questions, address them to: OUTDOOR PHOTOGRAPHER, Dept TT, George Lepp, 12121 Wilshire Blvd. Suite 1200, Las Angeles, CA 90025-1176 or online at ww.georgelepp.com.HoodLoupe:s 3.0 tor glare free LCD viewing Checking you histagiam, campesition and focus outdoors I easy with Heodman's Hosal.oupe 3.0, Precise 1X German Glas Optics deliver + 3 doptr adjustment. HoodLoupe 3.0 is encased in usr friendly rubber and its 3 inch or smaller LOD screens. Comfortable neck lanyard and com. Pact storage cae included. PATENT US 7296,229 82 and 7,094,877 Glasses built for photographers ‘add your Rc lenses HoodEYEtm Digital Camera Eyecup Frame relief for Photographers who wear glasses HoodEYEm inks ye o camer forimprved viewfinder opie. Easy Upgrade your eamora eyepiece in secon. Fie models tal Canon ‘and Nikon Digital SLR cameras calving D5000}, Patented set locking mount system Keeps HoodEYEm securely In place PATENT US 7.834,142 82 Hoodman Ttanlum PhotoFrames are glasses bul for photographers. Each lens mavesnd- pendently that yo can move lens up for shooting eye ard leave ons down for tacking ee. Titanium memary wce technology makes PotoFrames strong and durable, Comfortable ‘wraparound er pieces ensure PhotoFrames ide securely with photographers through action Sequences. Photaframos cme wit ler glass templates installed to guide your Optometris's forts or easy tting of your Rx lenses Inspired Photography Tools. a (ol Sefe) akeyced traveler [ By Bob Krist | nly one letter separates the words “take” and “make,” but their meanings are worlds apart A picture-taker is merely reacting to a situa ‘waiting for a stroke of inspiration to gift him or her with a picture worth shooting. A picture-maker, on the other hand, is more proactive, looking into a situation’s potential and creating or finding, either through research, shoe leather or talent, the less obvious but more telling photograph. A picture-maker is more inner-directed: a picture-taker is, dependent upon circumstances beyond his or her control. One of the reasons travel photography has been such a popular pastime is that when you're thrown into @ foreign culture almost anything you point your camera at is exotic and dif ferent, IC was picture-taking at its easiest and most fun, But to really reach the next level in your travel work, you can't be satisfied with easy exoticism. Merely go 46. Quudoor Photographer eutdorpoteraphe.com gto a far ‘Making a special travel photograph takes forethought and planning. The first image (loft is an okay snapshot; ‘the second image [right is ane that Bob Krist preplanned and captures the essence ofthe Buenos Aires tango. Reactive Or Proactive? The new travel photography paradigm flung place and taking snap- shots isn't going to work any more because, thanks to diital photography and the Internet, everybody has been every ‘where and has a camera it its only in a smartphone, So these days, everybody is a travel photographer Anybody an goon a photo tour with a DSLR or a good compact, and given the right conditions and a good lead ‘come back with professional- ravel photos. But many photos are, unforta- o longer wortha dime dozen, literally or figuratively Due to tremendous ove supply and diminishing demand, coupled with the explosion in the number of photo tours and location work- shops being offered, the old travel photography paradigm ‘of exotic snapshots fails to impress many people these days because so many more people have “been there, done that” and millions more have seen it on the Internet. So you'll no longer win photo contests, make stock photo sales of land assignments with these types of pictures. That's the bad news. ‘The good news is that there are more sophisticated and niche audiences out there, and more portals (albeit, many of them unpaid portals) to reach them. ‘These portals and their audiences have an insatiable appetite for new, different, more personal and in-depth explorations and stories of the places we visit. So the demand is there, but it’s for something that calls for a bit more work on the part of the photographer “Take the photos that accompany this column, Both are takes ‘on tango dancing in Buenos Aires, Argentina, part of an over- all assignment I shot recently on the Argentine capital for National Geographic Traveler. Tango is the defining cultural element of the city, and you see it danced everywhere—on street co halls, bars and restaur “The first shot is of an older couple, Pochi and Osvaldo, whodance tango for dollars at the famous ‘Sunday antique market in San Telmo and have done so for decades. They're pros very photogenic and fun to watch and shoot, All you have to do is get yourself into a good spot for one of their four times-an-hour performances, pray for soft light, fire away and hopefully drop a ferous tip when they pass the hat They always make a great shot, and if I had a nickel for every Buenos Aires portfolio and Flickr gallery they appear in, I could retire in style to that swanky houseboat in Sausalito P’ve been dream- ing about for decades! The second shot took a li work in the making, a little more proac- tivity, I found another attractive couple of professionals, dancing in a square in the same neighborhood, scoped out a ‘coo! courtyard that was open to the pub- Tic and asked them to join me there at twilight, We negotiated a rate for their time, and working with my friend Bemardo as an automatic human light stand, I tried ‘my hand ata slightly different, more illu trative take on the drama of the ta Tunderexposed the available twilight by about two stops and set my white balance to Tungsten, The combination resulted in a nice overall wash of mys- rious blue, Then as my dancers went through their paces, I had Bernardo, holding a Nikon Speedlight mounted on Do lots of research. The more ‘youd into your destination and find ‘out about ft, the more likely you are to find an interesting festival, personaity ity or viewpoint that may not be ‘obvious during @ cursory tour. Try a different approach. Sometimes a new technique ca ‘energize your coverage. Try shoot black-and-white, or infrared, or panorarnics, or using a Lensbaby or even HOR to puta aiferent spin on a ferilar place, Go slower, stay longer, dig deeper. Pretty set-expanatory The slower you travel, the longer you stay in one place, the more youl learn about the location and raise the odds of geting something cterent and hhopetfuly better than a superticial hit will gve you, a long light stand and wrapped with a snoot made from some hastily taped together newspaper to restrict the light spread, walk up the stairs on the side of the courtyard and aim the light from above and slightly behind them, I set off and controlled the Speedtight wire- lessly with a ger in my Nikon D90's hot-shoe. The resulting image, with its dra- matic shaclows and moody, iconic feel hhas done much better in sales from my stock ageney than the more usual shot This is largely because you can see the more usual shot anywhere, Hopefully, Flickr isn’t plastered with different ver sions of my illustration yer! Now, comparing these pictures is bit ‘of an apples-ancl-oranges matchup because cone is photojournalistic and the other is Ilustration, but the lesson remains the same. For your pictures to stand out, you inust go beyond the easy, exotic grab shot. In the case of the dancers, to keep it all photojournalistic, maybe you befriend the couple and do a more in-depth pic- ture story or audio slideshow about their wireless remote flash tr lives, on and off the tango stage, or maybe ‘you go way off the wall and attach small ‘cameras to their ankles and get a whole fresh perspective on tango! The point is, we have to do something more and dif- ferent to remain fresh and relevant. ‘When I teach a workshop, my students often think T'm kidding when T say that finding the situations and figuring out how to shoot them is the hard part of travel photography and the actual taking of the picture is often almost an afterthough But that ability to proactively «rack down and make the most of photo situations really is the true measure of a shooter: Consider the following story Years ago, right before the explosion of digital photography and the Intemet I was asked to interview the winners of ‘aphoto contest run by a prestigious travel magazine for whom I often worked. 1 |wasn'tone of the contest judges, but they ‘wanted a wrap-up article to run with the publication of the winners’ pictures. ‘One of the top imi wilight shot of a cormorant fisherman in the Guilin region of China (Cont'd on page 118) +1 MORE On The Web OF cous are ables an aie ane al wo. ooo per conclu. ste cf wrt nos ase sangre! Clad Sento | NON reap) TC ene) igen is eek ees ee ee nee Ure uslore Rtg (ole Nano Glass Technology Ore mere i this filter an unsurp Cea Lele tole M elo /ne May Toe erent THK PHOTO PROD! Se Eocene: PR outdoorpetopraphe:com June 2011 47yay landscape Morning Light When you have your camera with you, good luck tends to happen ( By William Neill | ‘When I drove my daughter to school on Monday moming, there was a thick fox in the area. On my way home, I spot- {ed these beautiful oaks across from the school. I spent the next 45 minutes rev- eling fog, photographing every variation I could think of, changing cam cra positions and lenses. I tried a few vertical panoramas and shuffled along the fence line of this field as T worked fon various spacing, between the trees. The fog simplified the background, isolating the graphic shapes of these {LEFT Sunbeams and Forest, Sierra Nevada Faothils, California Canon EOS-1Ds Mark il, Canon EF 70-2000re f/2.8 USM ‘BELOW: Oaks and Fog, Sierra Nevada Fosthil, Ds Mark Hl, Canon EF 50 sn'tt funny how ideas get stated”? When my kids started back «0 school last August, I gave myself the assignment t0 develop a new portfolio theme. My daughter's new school is 20 minutes away from ry house, and I have the morning run to take her there. Pll be making the drive nearly every weekday during the school year. Since I'll be criving through beautiful Sierra Nevada foothills, and Pm always looking for great light and new photographs, I might as well use iy time wisely. I plan on calling the portfolio “Morning Light.” For the first month or so, I found ‘no good light, Indian summer condi tions gave us clear blue skies and few interesting clouds. Finally, when our rst winter rain arrived, I found great conditions for my “Moming Light” seties! One Sunday night, we had a 48 Outdoor Photographer eutsarpatgrasheccomvaey aks. My favorite, “Oaks and Foss i shown hore ‘A few days later, while driving home- ward from my morning school run, T treason the eige above. The sun Was projecting these amazing shadows of the tres ont the og, pebbed my came tra raking he st frames without my tipo. Soon tied tat needed my tripod, so ace hack tomy ear Be Sevan oa bac’ peated we Os rigetne. bt I rancaly set yp with tipo and cable recone T made 127 fre, inloingvore seen sop back Casthecontachecame ser Look ing back athe time stamp.on my Fs Tia panei for on 12 waned before the effet disappeared. Tat I tive tthe ght locaton st herp Sime was pre luk! ‘Composing the “Sunbeams and Fores” image was an interesting chal tage capes gv tga: ing conditions | wanted the sunbeams tobe the cena foes: ofcourse, hit lack eisai the Seer ot a Art state "The beams were stronger ‘on the right side, so T aimed to the right Ni Copier catgh Toon wash ox against the dark background. This fram- ing ano gave the mage t more diag say oF ess tl oe ag to Tigetne As alway ny mos used les season my camera Canon 70-200 =. FT eal gt vst at eS 2 Whichaloyeinetrachrotny cs traction and it the hey element This opeioce maint we of | eatly 980k for Bve years dove into Senet elle to work and sk dan the Merced River Canyon agin st the tnd ofthe day. How Frater to hhave had that experience and to still live in an area of such beauty. Counting my blessings... Do you have your camera nen om yore es age oneal oy Subscribe to the iLCP newsletter To learn about William Neill’s one-on- www.ilcp.com ‘one workshops, ebooks (William Neill’s Yosemite, Meditations in Monochrome, \ Impressions of Light and Landscapes of the Spirit) and his courses with BetterPhoto.com, and to visit his Furthering environmental and PhotoBlog, goto wwn:willianmeill.com. i : —— cultural conservation through Seautearue senate ae TERATONL EGU ethical photography tatoo CONSERVATION Find tbs, answers nd advice fom OPS trusted PHOTOGRAPHERS ‘Ehlet we aon agate outderpetogapheccom June 201149[FAVORITE PLACES | Myrtle Island SOUTH CAROLINA Location AA favorite and idylic setting ‘exemplitying the area's count- less estuarial vars, crooks and marshes, Myti Isiand is found deep in South Carolina's Low ‘Country, nestled in a crook ot the May River as it begins its final run into the Calibogue ‘Sound and the Atlantic Ocean The locals know it as Nanny Cove, and you can get there easly by bicycle or auto from downtown Bluffton via Alloy Road and Myrtle Island Roa. Looking east and west, this salt marsh and creek are well rented for amazing sunrise ‘and sunset compositions. Be sure to include a wading bie, ppalican, dolphin or osprey in yourimage, and even the occa- sional eagle. Parking i limited, ‘and the locals wil ine up there at the bridge in golf carts to enjoy the sunset and a cock- tall, joining the occasional ish- fermen who work the creek for red Grum and crabs. Weather This image was captured at Myrtle Island near Bluton, just past sunset during late surnmer. Inthe summer months, hurrid- ity here fs high so that moening and afternoon clouds are the orm, Late-afternoon thunder: showers are frequent, accom: panied by high cumuius clouds Photo Experience {maw tote wicness of te Low County and it bounds estuaries and cosystons where time nas most stood stl since the Native Americans inhabited the area My equipment must be vesailefor capturing the area vasness,wihacom- binaton of expansive inc, wars and eis, ao tke to be prepared for both abstract compostons and life action shots, Noor buf andsuet te most veeful to employ a gradu- ated fer for balancing ea, vat and oy ones, aswel a3 controling reflections on the wat. My principal choices are the BaW #502 coor graduated ‘and foreground emphasis. For macium and long telephoto work, the Canon EOS 70 and EF 100- 400mm f/4.5-5.6L produce amazing detail and color when capturing the nuances of abstracts and wildife shots, even at higherIS0 settings. The cam- eras 1.6 magnification factor also increases the practical reach ofthis lene. reliable and sure tripod is indispensable for louslght levels during sunrise and sunset, of course, and my Manfrotto tipod and ballhead and quick-release plate fil the bil nicely. Best Times ‘The east-west orientation of Nanny Cove provides excellent sunrise and sunset opportu ties rom late spring through early fall For this, you'l want to time your visit to coincide with high tide, plus or minus about two hours when tidal water fils the marsh area. The wading birds ‘are most active while the tide is rising or faling, however. Contact: South Carolina De- partment of Parke & Tourism, iscoversouthoarolina.com, OP Gear... erzoomns that stert thanks to the compositional toodom they provide, Thay also travel ght thanks to the ff igre. The Tatron 18-270mm F/.5-6.3 Di II VG ‘on, Nkon and ter ane ror la and at times ightring strkes, | fier and Sngh-Ray grads; the || Musi hohit sh 80 be redy fora quick reat | stp, sttedgeandthe2-and_ [uae Manion emacs Myre tind “| Dyess for very warm tempers | ways with me. My Canon EOS | of 466 aunces I SOUTH CAROLINA ‘bring along plenty of water and | pair is perfect for landscape | equivalent range, and Vibretion and biting midges. wal suited for spatial expanses | TOW sir sees of sha Cena eee] Favorite Place? [4 four photos tora ct isa i" vveytarnron-usa.com. 50. Outdoor Photog sper outaorpoterapharcomSIGMA LENS for DIGITAL 70-200" Fa 7 OS HSM SIGMACORPORATION of America Versatility, extended range ‘and the 05 function all in one small package with ‘an F2.8 aperture throughout the entire zoom range.IN SOUTH AMERICA, “south” means more than a diree- tion, more than @ description and ‘more than a mere adjective. It means Patagonia, A majestic place of fjords and forests, ice fields and icy lakes, \wind-scoured skies and wind-combed steppes, this is the “south” that we fell in love with on our first trip to southern Chile in 2002. Aftera month of traveling through central Chilean Patagonia, in the region known as Aysén, we left promising to retum as soon as possible to the most beau- tiful landscape we had ever seen. Doing so was easy, We started think- ing of Patagonia as our second home and began sharing our passion for ‘one ofthe last perfect places on Earth, Geographically, Patagonia is puz- ling, There’s much debate over where itbegins and ends. No one denies the peaks and glaciers, but is the dense green Valdivian rain forest part of Patagonia as well? Locals on both sides of the Chilean-Argentinean bor- der stake their claim to the area's ‘mystique. Our focus is on Palena and Aysén, two neighboring regions in southern Chile, Palena i in the lower half of Chile's 10th Region, also called the Region of Lakes. You can’t drive there directly because the national road network is cut off by the peaks, fjords ane! impassable cifis that plunge into the Pacific Ovean, Ferryboats take you south to where the road begins again and continues The new book, Unknown Patagonia, tells the story of the precious and unexplored region of central Chilean ] | { f Patagonia and the environmental threats it faces Text And Photography By Linde Waidbofer And Lito Tejada-Blores 52. Outdoor Photographer outdorpotoraphe.com‘OPENING SPREAD: Lenticular clouds above Lago Carrera in ‘central Chilean Patagonia, Lenticular clouds are common ‘nthe far south; stacked and layered lenticular only ‘occur afew times each summer. The clouds are evidence of intense winds aloft and often of changing weather. ‘RIGHT: A clearing storm reveals secondary towers and ‘spires that crowd around Cerro San Lorenzo on the border between Clean and Argentine Patagonia. These peaks are an hur seth ofa town named ater Lord Cochrane, a British naval hero who also fought for Chilean it and whose swashbuckling career was the inspiration for Patrick O'Brien's famous series of ‘seafaring novels. FAR RIGHT: These yellow chocho lupine ‘found ony arund Port Trangia atthe western end of Lago Carer. BEL: One othe three species of southern beech tres that dominate Patagonian forests, ‘the ilirre exhibits a rich spectrum of colors in autumo, ranging from yellow through orange to deeper reds. The beech forests are often festooned with a hind of Spanish ‘moss, known as barba de viejo, or Old Man's Beard.conto Aysén, Chile’s 1th Region, which is cut off from the final and more famous 12th Regios Magallanes, at the very bot- tom of the continent Isolated from the rest of Chile and safe from too many people or too much devel- ‘opment, the natural beauty of Palena and Aysén has stayed intact, An unrelenting and complex coastline is part of what has kept this part of Patagonia unknown, Ifthis region is the wildest landscape in all of Chile, i's not because of a steadfast conservation effort by the Chilean people to protect the land from modern industrial-scale development. It’s mostly because no one can really get there and espe: cially not in great numbers, The region is one of the most sparsely populated in all of South America. The terrain is so rugged that build ing roads just isn’t possible. The Southern Highway, or Carretera Austral, is the only oud that crosses this landseape from north to south, The best way, and sometimes the only way, to really see the land is (o fly over it, So the rough terrain of northern Patagonia and Palena, with its twisting fjords, hanging valleys and nameless lakes, is kept safe by its sheer steepness, But there are troubling signs ahead that ° 5 ° PATAGON I, threaten to harm the landscape"s purity. Along the coast, careless salmon farming threatens many of the pristine fjords, A number of deals made during the Pinochet regime gave control of Patagonia’s free-flowing rivers to foreign energy companies. Arguing that Chile faces critical energy deficit between now and 2025, an energy consortium has lobbied for five years to build five hydroelectric dams on the pristine Baker and Pascua tivers, producing 2,750 megawatts of power to be sent north to central Chile. To carry all ofthat energy, 200-foot-tal transmission lines, which would require clearcut some 400 feet wide for 1,500 miles, would be constructed and run through 64 communities and 14 protected areas. Completion of dams on these two rivers alone would sub- 1¢5.910 hectares of Patazonia’s remain- ld lands. ‘The heart of Chilean Patagonia is water Each river has its own color, which is usually some shade of turquoise. The water is crystal clear and so blue that the color looks like the ‘work of Photoshop. The most intensely col- ‘red rivers and lakes that we've seen anywhere in the world are in Patagonia, Our favorite lake, Lago Carrera, is the jewel of Aysén and the second largest in South America, We love this lake because of its deep and beautiful jutouphetopapta.com June 2011.58‘ABOVE: Smal “hanging” Iokes dot the granite peaks of northern Patagonia in the province of Plena. Most, lite this one, have ‘never been visited by fishermen or bikers o climbers because ‘it would take some serious bushuwhacking, thea rock-climbing, ‘to,each its shore. The ooly way to see and photograph such ‘hidden lakes is from a smal plane. ‘MGT: A fiery cloudscape above Lago Genera Carer, the largest lke in Patagonia and second largest in South America after Lake Titicaca. Behid the far peas, an enormous ie fel, ‘the Campo de Hilo Nort, slones down tothe Pacific. FAR RIGHT: Alrces a species of cypress, are the largest and oldest trees in South Ameria. Some are estimated tobe more than 3,000 years ‘ld and they often reach 150 feet tal. Now protected, only about 15% of Chile's rial alerce stands are let. » ‘On The Web he eats ecton of he OP webate gnome tanedesve ane ol aries ot xing lana paras a ake mage, 2 wot as OP Tp 100 coe Loans Vist woe xtopateraphercomoratins i = ne! (Outdoor Photosrapher outoorpetograprorcomcolor, At the lake's western end sit sculpted ‘marble caverns eroded by centuries of waves at the base of steep cliffs and stone stacks. Real marble is fairly rare in nature, The com- bination of marble and turquoise water is even While they're now protected from logging, the famous alerce trees are diminishing. in umber. Alerces are a kind of cypress that stand more than 100 feet high and are cen- turies old, making them the largest and old- est trees in South America, Thousands of hectares of native forest stretch from the deep fjords of northern Palena tothe giant ice fields that separate Aysén from Magallanes in the far south, Along the Enchanted Forest Trail, ‘wvisted trees are covered with a layer of smaller nn plants and climbing vines, covered and overed by moss Perhaps most identified with its moun: tainous regions, in Patagonia, even those are different. The peaks of the Andes aren’t as high as those closer to the Equator, but they're still enormous because they rise some 10,000 feet from near sea level. Some peaks in the far south rise straight from the sea. More than the peaks, Patagonia’s mountain landscapes are defined by ice fields. Much bigger than simple glaciers, they're formed by years of snow compressing, freezing and tuming to ive. The 1,500-mile Northern Ice Field is mostly unseen behind the big peaks. The fields play a big role in the region’s unusual geography. When the winds get going, they pick up clouds of moisture vapor and huge re storms form from the vast plains of ice. InEastern Aysén, the dry terrain looks more like Argentine Patagonia, the side most often photographed and displayed in climbing mag- azines, Vast semi-arid valleys cover the land- scape with spiky, thorny plants and fast-moving clouds that don’t often bring rain. Beauty here takes on a minimalist tone with stunted, ‘windswept trees and wide, open grasslands All of this is southern Patagonia. And because so few have seen this land in person, its beauty remains unknown and unspoiled. [Nature put up roadblocks, effectively keeping developmental threats out fora long time, But now there's pressure. Even the most beauti- ful and poetic landscape can’t defend itself So those who know and love this place have to tell the story, show the pictures and tell oth- ers to explore it while it’s still perfect. oF To see more of Linde Waidhofer’s photog- raphy, visit www.westerneye.com. Unknown Patagonia is available as an ebook that can be copied and shared, free of cost, on the Western Eye Press website. A deluxe, large- format hardbound edition, limited to 500 copies, is also available,f you would have told me three years ago when I was living in Park City, Utah, that I'd be creating HDR images, running my own gallery, living in Scottsdale, Arizona, and loving my DSLR, I would have told you that you were crazy. For over 15 years, I was a bona fide film junkie of the Fuji kind and, when the world started going digital, [ dug my heels in and fought it to the point where I eventually almost hung up my ‘camera for good—or so I thought Ital started with an old, rusted-out, red truck that I photographed a few years ago in southern Utah. Although I had all but given up photography as things went digital, I was out getting to know DSLR a little bit when T saw the hulk on the side of the road. I actu- ally passed it by on my way to shoot something else, but the truck stuck in my mind so I doubled back and shot some photos. I had really never been attracted to shooting old trucks, or any old vehi cles, for that matter. As a professional, [ had mostly focused on my stock photography specialty, which was adventure sports AA few weeks before I took those photos ofthe old red truck, a friend and photo enthusiast asked me if Thad ever heard of HDR. My response to him was, “HD what?” I think he was surprised that [ hadn’t heard ‘of it I didn’t reatize that T was that out of the photo loop, but after being out of the business for several years, I guess I was. He said I'd have so much fun with what high dynamic range could do to my pho- tos, He gave me the name of the program that he used, Photomatix, and the website. When I got home, I immediately jumped onfine and ‘checked itout, [downloaded a free trial of Photomatix Pro, then watched 4 few of the tutorials that they had available onfine, and off I went into HDR land, Of course, I hadn't shot any photos as multiple exposures, Which the tutorials suggested, so [really didn’t have any photos to play with yet. Then I passed the ol, ed truck on the side ofthe road. Instead ‘of shooting single frames, I photographed the red truck in the prescribed rmultiple-exposure manner. I thought that it might make a great HDR, so I rushed back to my hotel room, downloaded the images from my camera into my computer, then quickly loaded the three bracketed images into Photomatix and pressed the “Generate HDR” button. ‘That's when the magic happened; I could hardly wait to see the result. Stoking In her “Ghosts of the West” project, Cheyenne Rouse reignited her love of photography by embracing HDR Text And Photography By Cheyenne L. Rouse 8. Quidoor Photographer outdorpotographe.comABOVE: “Badge Bootlegger.” Rouse found this red track while on a roadtrip in Utah, She new it would be perfect for an HOR photo, Regular photography would have yielded a fat image, but ‘HOR brought the scene to life. LEFT: “Taos Cemetery.” With winter winds ‘lowing and the snow jost about tall, ‘Rouse soupht out this maody cemetery in Tos, NAM Black-and-white HOR ‘rendered a particularly haunting image. outoorpetographaABOVE: “Horseshoe Bend.” Just south of Lake Powell in Arizona, this roadside stop is a perennial favorite for ‘nhotograply. Rouse's HOR image bas 2 ‘ecidedly different lok than all of the ‘others. RIGHT: “Heaven's Gate.” An historic cemetery outside of Santa Fe, ‘AM, an a stormy fal day makes for @ powerful HOR image. FAR RIGHT: “Pony Express fiers.” The Hashinife Pony Express filers gallop into Scottsdale ‘every February to commemarate the historic route from Holbrook, Ariz. ‘Applying HOR ta such a tight ‘composition with shallow depth of ‘eld generates an ethereal effect. 60 Qatdoor PhoHDR Software Options HOR EFEX pRo™ Photomati Pro but within the past year, that has changed. HDRssoft’s Photomatix Pro shares the spotight with other options, Adobe Photoshop, for example has bull-in HDR canabilty, and in Photoshop GSS, it has improved significantly Cover previous versions of that standard image-processing software. Ever Imaging’: HDR Darkroom supports 16-bit TIFF fles, and it works as a RAW converter as wollas an HDA program, Their newest HOR software, HDR Photo Pro, expands (on HOR Darktoomn's capabilities by adding a range of sophisticated color Controls, as well as added functionality, List Price: $79 (HDR Darkroom); $129 (HOR Photo Pro); wwwrindrdarkroom.com. Nik Software's HDR Efex Pro brings the company's trademark ease of use and photographer-ness to high dynamic range work. HDR Efex Pro is avalable as a 32- or 64-bit plug-in for Photoshop Lightroom 2.8 or later and Aperture 2.1 or later. List Price: $159; \wwwriksoftware.com., Unified Color Technologies’ HDR Expose works as standalone software or as a plug-in for Adobe Photoshop Lightroom or Apple Aperture List Price: $149; www. uniledcolorcom, | Ju recently, a photographer didn't have mary choices for sophisticated HOR, ‘When the image appeared on my moni- which is why it attracted me in the first tor, I gasped. It was gorgeous and so alive with color, texture and depth. With a few {one-mapping tweaks, which I didn’t really know how to work yet, Thit the final “pro- cess” bution, and what appeared was noth- ing short of ineredible—it was as if the truck was about (o drive out of the mon- itor and into the room. I thought the truck was full of char- acter and personality when T shot it place, but the individual digital frames that I shot didn’t do such an interesting subject justice, They seemed too one- dimensional and lacked a feel for the texture and patina of this amazing red truck, With HDR, I knew that I had found a process and program that was not only user-friendly, but would trans- form these relics of the West and ren- der them the way that T saw each one when I was photographing them. T've been fascinated with Western and Southwestern history for years, but the limited photography I did was ‘mainly centered on cowboys and Native Americans and their ancient cultures, with scenic vistas of the American Southwest and West thrown in, With my newfound love of the Digital Age, Ieould ‘make the historic places and things that I'm fascinated by come to life again. The red truck, aka “Dodge Bootlegger; changed everything for me. I knew that Twas on to something when I posted the “Dodge Bootlezger” on my Facebook page. The response was amazing! I don’t think any of my photographs has ever received so many great comments. This opened up a whole new world for me. (Cont'd on poge 118) cucuphetprapteccom June 2011 61NOT Pe eee Red RUN Ucar ed Pisa nee eit rates, but you can make them even ere eee nr Pera gegen Sr ue ere eS cd With their quick and erratic movements. 1 Eee ae ese camera. I discovered birds after more than Poet ae nag a aes Nikon F3 35mm SLR coupled with an 80- See Se the DSLR arrived on the scene and matured, een eacee aes eee for action shooting. Here are some things ve leamed from the more than 70 DSLRs eee ee en eR ae Zines is getting to try lots of gear). Birds Pa ee cme estes Tes Trve leatned should help with all wildlife and even sports-action photography. enn eee How to set up your camera and lens to get quickar response when you're shooting fast-moving subjects like wildlifeDeg gr eee ed a ee eee en a er ey Ce eed ‘AF-ock! button onthe back. You can set this Cg eed ed eed Crore ter tog ey ee ed eed Use Release-Prioity AF Set your DSLR for release-priotty AF rather than focus-priorty AF ing it permits you to do so). Focus- priority AF locks the shuttr release unt the camera thinks the image is in focu Itvas developed for point-and-shoot cam eras to keep snapshooters from acciden tally taking out-of-focus images—is fine for tat, but its not for serious photog raphy. When I push the shutter button t0 take a shot with a DSLR, i's because T want to record what seein the viewrinder athat instant, an the only comect response forthe camera is to record it. don't want the camera telling me “You can’t have this moment because my circuits haven't decided yet whet! (Of course in release-priorty AF, the shutter wl fre whenever yon filly dopress the shutter button whether oF not the in the viewfinder looks sharp before you fully depress the shutter button. If your DSLR doesn't provide release-pririty AF, you can still get good action shows, but focus-priority will cost you lots of shots, where the camera just won’t fire 64 Outdoor Photographer euléorpetographorcam Use The Center AF Point Use the center AF point only. This is the most sen- sitive and accurate point, and demands less of the camera's pro- cessor than using all the AF points. If you activate additional AF points, it will slow things down a bit. Today's AF systems are ‘amazingly quick, but when speed is of the essence, use only the center AF point, But be sure to keep that point on the subject or the desired portion of the sub- ject like an animal's eyes. That takes lots of practice, but do it. Putin the time, and you'll sce the results! Don't worry about composition; most flight shots have plenty of space around the bird, so in crop as you wish when you edit c. Get the moment, with the AF point on the bird’s head, If the AF point falls on the wingtip of a large bird, the head will be out of focus. “Ballpark” The Focus Manually Sct the focus in the ballpark: manually before activating AR. That way, the AF system will lock onto the subject much absolute fastest AF response is ‘required, use only the conter AF pont. With lower-end SLRs, activating all the AF points ‘can slow AF performance ‘noticeably asthe ‘camera's processor ‘as to deal with information from all the points 4 this nine-paint system, there are big gaps ‘between points. ‘more quickly, with no hunting, and you'll be ready to shoot much sooner. I the lens is focused near its minimum focusing dis- tance and the subject is about 150 feet away, the camera may never achieve focus and the image will be so out of focus, you may not even be able to find the sub- {ect when you look through the viewfinder. In keeping with the above, a vital fea- ture of a bird-in-flight lens is the ability to prefocus manually while in AF mode. Canon USM lenses with focusing scales allow this, as do Nikon AF-S lenses, Pentax SDM lenses and Sony's 70-400mm SSM zoom. If you have to switeh to man- ual mode to prefocus manually, that will slow things down considerably. Use Continuous AF Use continuous AF for action shots ‘obviously. Put focus in the ballpark ‘manually, postion the AF point on the subject, then partially depress the sbut- ter button or the AF button to activate the AF system (see Tip #8: Program The AF Button). Pan the camera to track the subject, keeping the AF point on the desired spot, give the system a moment to do its thing, then fully depress the shuuter button to make the shot, Don’t stop panning as you depress the shutter bution; follow through, Use The Focus-Range Limiter ‘Use the Focus-range limiter on your ong lens if it has one. Most animal action occurs far enough from you that you don’t need the lens to focus through‘Pro BSLAs have more AF points, hut you'l still ‘get quickest AF performance with only the ‘centerpoint active. The center pont is also ‘generally more sensitive than the athes. its entire distance range, and having it do so slows down the process greatly ‘Switch Off The Stabilizer stabilization works best with stationary subjects or subjects moy- ing at a steady rate in a steady direc tion, For erratically moving animals like flying birds, stabilization actually will fight you as you track the bird, and that doesn’t lead to sharp images. Stabiliza- tion also takes time—up to an additional second with some stabilizers. When you need the quickest response, you'll it with stabilization turned off ‘Some feel that stabilization helps the AF system perform better, so it won’t hurt to try wildlife action shots both with and without stabilization, and see ‘which works best for you with your gear. Select The Focus-Change Delay Some DSLRs let you choose how long the camera will wait to refocus if the focus distance changes abruptly This is handy if a bird subject briefly flies behind a tree or if you let the AF point momentarily slip off the subject. If you set a longish delay, the cam ‘won't try to focus on the tree or bacl ‘ground immediately. If you set minimal delay, the camera will immediately try to focus on the tree or background. 1 usually leave this set for “normal,” but you can experiment with your camera to see what works best for you. If the camera does lose focus on the subject immediately let go of the shutter but ton, manually reset focus in the ball park, then press the shutter button halfway down to activate the AF system again. A side note; AF systems work best swith subjects against a plain background. Thave yet to use a DSLR that was good at tracking a subject against a busy bac! ‘ground. So try o photograph action sub- jects against plain sky or a large water surface rather than against busy foliage. Program The AF Button Many action photographers like to separate AF activation from the hut ter button, switching the function to the rear AF-on button, Most AF SLRs will let-you do this via a custom function That way, you can activate focus by pressing the AF button and stay in con- tinuous AF mode ata im the rear AF-on button to lock focus on perched birds. Note that with some cam: eras, the AF-on button won't activate the image stabilizer inthe lens although releasing (Action AF Workflow ) dnd canes eee aR ree Fare Cnc Ce eng target on the bird, and eg ra Poem Cne ne cay Re und Cog Pon Perl cd Raed eee tg ree tiednas Pe Caan Pet el Ce after the last exposure has ers DeeJOHN LENNON ¢ U2 e BOB DYLAN « REDHOTCHILI PEPPERS * LADY GAGA BEYONCE * BRUNO /\\/ARS * KATY PERRY * RIHANNA ¢ J STIN TIMBERLAKE © MADONNAe EMINEM ¢ BRUCE PRINGSTEEN*JOSH GROBAN * KEITH URBAN « BLACK EYED PEAS « PINKe CEE LO GREEN * LADY ANTEBELLUM * BON JOVI + FOO FIGHTERS # REM. NICKI MINAJ © SADE © MIC/sAEL BUBLE « JUSTIN BI: BER© \DELE* ENYA ETON JOHN + JOHN MAYER * QUEEN * KING OF LEON * STING * LEONA LEWIS « NE-YO e SHAKIRA * NORAH JONES 37 CHART-TOPPING HITS AND CLASSIC TRACKS FROM THE BIGGEST NAMES IN CONTEMPORARY MUSIC. T L \ E 100% T I | SONGS For JAPA CD DUE APRIL 4™ AF PERFORMANCE as pointed out in Tip #6: Switch Off ‘The Stabilizer, I don’t recommend using the stabilizer for flight shots ‘Switch Off The AF Illuminator Q) The AF Illuminator is effective only out to around 10 to 12 feet. You're ‘not likely 10 be doing action shots at that range, and the illuminator slows things down, so switch it off. Besides, if the light level is so dim that the illuminator fires, you'll be doing slow-shutter blur effects anyway, not sharp action shots. ‘Use Manual Exposure Control | Stes Ab ostems ae almestinsan- J taneons, bat for quickest response, preset the exposure manually. Asa bonus, if you preset the exposure manually for the subject, you won't have to worry about the meter being fooled as it trav= els across bright and dark backgrounds. Having to determine and set and reset exposure compensation while tracking a uick-moving subject doesn’t help pro- duce sharp action images. Use The Right Shutter Speed {ermal 300 want ue eta enough shutter speed to sharply "the subject in the image; gen- Yen See, or faster. lepending_ on the subject’s speed and direction of move- ment and the shooting distance. You may ‘want to experiment with different shut- ter speeds, including slow-shutter blar effects, both handheld and with support (see Tip #15: Try A Camera Suppor) Try AHigher ISO Setting J DMost lenses are at their best a stop ‘or two from wide open, e., /5.6 or f/8 for an f14 lens. This also pro- vides a bit more depth of field to get more of a large subject sharp. But you also need a fast enough shutter speed to stop the action and to handhold a long lens. Most current DSLRs can produce excellent image quality at SO 400-800, Which provides some leeway for lower- light situations, although ISO 100-200 generally produces the best image qual- ity with most DSLRs. Experiment with different shutter speeds, ISO settings and apertures from wide open to two stops down from there, and see what ‘works best for you,Set The Advance Rate To Suit The Subject [Biter sreededrancesvesyoua ber ter chance of catching that perfect moment, but low-speed advance the AF system more time to nail focus between shots. You'll have to see which ‘works best for you with your camera T sometimes use high-speed advance, which is 6 to 10 fps with my cameras, and sometimes low-speed, which is 3 {05 fps with my cameras. Either way fire short bursts so you get a variety of “decisive action moments ‘Shoot JPEGs For Quickest Response [Aitstexine speeds peramoun shot highest-quality JPEGs instead of RAW images. No, JPEGs aren’t as for as versatile as RAW files, but thy much smaller, and with some DS that translates to faster shooting and more shots per burst. For example, the Nikon 'D300S can do 7 tps when shooting JPEGs or 12-bit RAW files, but only 2.5 fps when shooting 14-bit RAW files. Due to their larger file size, RAW images also Timic the numberof frames you can shoot in a single high-speed burst (18 to 30 RAW for the D300S versus 44 (© 100 Large IPEGs) TyACamera Support [Men dein ttptecozaper, myself included, work handheld. A rood number of others use some form of camera support. The BushHuvk is @ tifle-like support that works very well for flight shots and is easy to carry around, For flight shots from a tripod. 4 gimbal head isa necessity. This device can be locked down for rock-steady sil shots, andl unlocked, it provides the abil ity t0 track moving subjects smoothly ‘while sill lending good support. Many serious bird-in-light photographers se gimbal heads for fight shots with really Tong lenses. Popular brands include Custom Brackets, Flashpoint, Induro Tobu, Kirk, Manfrotto and Wimberley For non-bird wildlife ation witha long lens, a tripod with a gimbal or ballhead is de rigueur, or +i MORE On The Web Wit aie and tps ta he reso satin rng eg ae oer sis OP west is ere rete are festa nd Inprabora Howat. Vist wo outdoor potgraptercom/how-t fe rn more Your chances of finding digital filters better than Heliopan? Th Ere tte hale Saath iit team i Toler ue gn digital filters have 8 metallic coatings per side that eliminate 99.9% of light reflections. Each side's top coating repels dust and moisture. Heliopan uses the world’s best optical quality glass: Schott™ (Zeiss™). Bras ae eur me Rea eed and types available. Heliopan is made in Germany, heliopan Recess 973/808-9010, For dealer Is, vist ‘utdoorpotopraphercem June 2011 67As sIGNME See aCe a me caer eae crn Pee terete ona Nereis er meme a Pe ema Cen ee er eC aU em a Pen ae OR oer eas ce ec sae Nee C aS ee a en SNe eae en esate ee aL Rn eee oa ae ns with more than 800 total entries. The Sree en er are ona) Pe RTE eat Congratulations to the photogra- De sce a comesure to keep go Sere ts} Se eT mit a photo today es econo eae —Christopher Robinson, Editor Teena Se een} Seer car one aed Pet eee rear ee ee ok eee a Seer Poe eon ree eae erie ra rr Pee a es pe a ee ed ert ey Pee ee ns Eee tet na a) Reread ec nee et eae eae ees Cie hn eek eee ee et ee nee pcr aneene peor siete entree See nner nner reer a erent ent ht ee) per nee tas Poets g eT eet Lekstc rime eer 3) Sea eed LOCATION: Boynton Canyon, Sedona, Arzona Ce ee na ee arenes cee oan) et ieckaka ark Pee eee ee re aan en et ere ane) Peter iere i nons 4) See teeny nat ean) Pet tr ees eae Cee ad Cee eee eee eee ene eet ced ee er ee cereod ee ee ee Cee ee eer einen rete ee aSe oun UDhy does it seem tke summer brings the long lenses out ofthe wood- ‘work? With subjects, from baby birds and Parents tencing to them to mammals enjoying the long, easy days to spring wildflowers, long lenses get a workout every summer For these and many cther subjects, the long lens is the perfect tool, and no others will do. What if you just ‘acquired your long lens; how do you get the most out off? What if ike many pho- tographers, you haven't had your big glass ‘out for a while and things are aitle sty? PPethaps, just pethaps, you're just not get- ting the results from your long lens that you ‘800 in others’ photographs. What can you do to solve that problem? Here, well cover basic to advanced techniques 0 you can ‘make your long lens sing! Let's start with a couple of definitions so we're all on the same page. When 1 refer to a long lens, I'm taking basically about any lens between 200mm and ‘800mm. At the same time, 'm referting to lenses in this focal-length range that have atripod collar. That's because while almost all the techniques apply to wide-range zooms that contain 200mm, the lenses are so physically small that they really don't require such a concentration of thought. While a 200mm is a 200mm is a 200mm, how you use a 200mm f/2 compared 10 ‘an 16-200mm is a litle different. With that In mind, here are my tips to make the most (of your long glass. 72 Quidoor Photographer outdorpotoraphercom Tripod And Head | ‘The #1 mistake photographers with long lenses make is cheapening out on the tripod and head! That long lens must have a stable, yet flexible platform fro which to operate, The #2 mistake they make is locking down all the controls before they make the shot, probably because they've made mistake #1. The eral rule of thumb is when the tri- are opened up, they’re at least as the Iens/camera rig is long. This is a good place (0 start. T would add that the tripod height should be at least to your forehead, And lastly, ‘you buy a tripod for the most unstable medium you can imagine Since I find myself in all sorts of inimaginable places having to wait long hours for my subject, T have maxed out in this department, I depend on the Gitzo 5560SGT witha Wimberley head. When ‘you look up the specs of the Gitzo, you'll See it just about equals a four-story build- ing. Why would someone need a tripod that goes that high? I asked the samePhotography By Moose Peterson ‘ a thing until the first time Iwas on a severe slope photographing mountain goats Being able to set up the tripod with one leg extended and going way down the slope and then with the others extended so Teould stand upright, knew this was the right tripod When you set up your tipod in muck, snow or wet be sure you extend your tr- ppd leg tots furthest o the leg joint stays Out ofthe Wet. In this same scenario, push the tripod leg in the muck; on’ titres cn the surface. By doing this, the tripod and the head provide maximum stabili for your long lens. The Wimberley (a ‘gimbal head) with this setup provides complete stability and, with the controls Toose enough for movement but not so tight it chatters when you pan, it gives You a rock-solid shooting platform, | Stance And Grip | This is so simple yet so essential to get a sharp image at any shutter speed The problem is that vibration starts at the camera body from either the hand resting on the body or the firing of the camera, This movement travels forward in @ wave and hits the front element here it resonates and then travels back to the body, causing an out-of-focus image. You stop that wave and shoot at any shutter speed. How do you stop the wave?” Start with an eyecup that acts like a simple shock absorber between the camera, Next, rest your left hand on the top of the lens barrel just as you'd restitin your lap, You can do this or place ‘outdoorpetographaccom June 2011 73 fou andABOVE: A bull moose in Ataska warking the slope, ‘controlling his harem. Shooting with 2 400mm (1/28, asate distance could be kept while still ‘isolating the boll against the shaded slope, making him pop visually ABOVE, RIGHT: The Arctic fox n the summer looks thing like its winter slf, hut is always a character. Moose Peterson's Nikon 200- Rll ens is great tol for taking in the “wide” shot t include the animar's world and thea Jetting you zoom infor the gesture that makes that animal a charactor. AIGHT: Moose Peterson shaws proper form when shooting with a large telephoto and a gimbal bead. Balancing the lens on the head allows for fast and easy tracking ofthe subject. 7A Oatdoor Ph 1 ulioorptetgraprcom‘your hand on the bottom of the fens barrel and push up slightly, Either technique stops the wave ont of the lens or coming on ba nally, er on the shutter release; don’t jab it like you're killing a bug. This simple technique devised jong ago works great und permits mobility so we can ppan with our long lenses, | Panning | ‘The technique of panning isthe tracking of the sut- Jectin the viewfinder by moving the whole long lenveam- cra. You can do this technique with any lens, any length, 4s long as you practice, practice, practice. Using proper lens technique, stand between two of the tripod a.can follow the subject without tripping aver cg. When shooting, obtain the subject in the viewfinder and track it in the viewfinder by swinging the lens (why the controls aren't snug on the head). The main aspect of this technique is you must keep the camera movi until you no longer hear the camera firing. You can’t stop moving the camera prior to that or you risk your subject moving during an exposure while the camera f4GEDVR AF-S Niéor 20 f/4GEDVRA Mon 03%, AF-S Nihor 70-2000, AF-S Nikkor 600m, Rally Right ‘St BH Ballad Spit Graduat 16 Mut-Functon Rem Nikon Neutral Gear Filters on ALL leno Ni ND hrEPSON BROTHER HP CANON NEC LANIER LONG LENS is not. This isa vital technique because there are times when you may be shoot- at shutter speeds of % see. That's tight. shooting telephoto as low as sec You can do it with practice! Great Prices on Ink and Photo Paper Atty 2+ Tosrouck —Siglbun 18st Octaewn tt Sigal crn Hat ‘ous pack —empEpean”Bhet —C6BStan ack org no Bitermenns at foramlacted 1801 Tolbseescatx Gitar) St crea Sie at Tosa pack grgepsan” 2681 pact back | OrgALPS 301 Spedtcoe args BAT = S00-INKFARM =a | Carrying Big Lenses | ‘That long lens can be a heft to get around in the field, I've seen many a car rying style, and most of them Iook uncom fortable. More importantly, most styles don’t promote quick and stealthy deploy- ment, Personally, I earry the lens on my left shoulder (there's a permanent inden- tation now from this) withthe tripod lexs already set to the right length, Walking is done with the legs out front soit'seasy ‘and fast to put it down, Getting the long lens and tripod down, set up and your eye behind the camera without searing off the subject can be a challenge. With this in mind, put the rig down slowly and smoothly. Stay behind the rig because, for whatever reason, critters feel safe as long as we stay behind the rig. If you have to bend over to place the rig down, stand up slowly while staying behind the OKIDATA_IBM APOLLO SAVIN PANASONIC rig, So whatever method you find works for you, keep this in mind, Gy 1 S108F sess ts icc Pa rt) ra ° 4 w = a a a r re Ei < 4 ) ° 4 a = Cj 4 < 3 © 7) Pint torr arr eel Ter Pek res | Heat Shimmer With shanpness being so important, this natural occurrence kills sharpness faster than anything else. Heat waves between four fens and subject ereate a curtain of heat shimmer. This ean be causedby every- thing from blacktop to snow to sage. ‘There's no cure for this when it oceurs If t's happening, you have two options: Don’t shoot or wait for a slight breeze. Heat shimmer is an effect that plagues long lenses only, so be aware of it For Wik Weather Shots! Gat A | MFD And Extension Tubes | Long lenses are best used when we're physically close to that bird or moose, ‘We use their isolating power to make the subject pop out in our frame, Minimum focusing distance (MED) then isan impor- tant aspect of using a long lens—getting close physically and using optics to iso: late our subject. Each lens has a differ- cent close-focusing distance. Newer lenses tend (0 have the best native MFD, but view online now they ean be coy H you havea lens that _ ers doesn’t permit you to get as close as you'd AUB AUT Pity Clee) Tee || tks sou may wan wo mest in extension aint dopermityu to getceser 76 Outdoor Photographer eutsorpetogragnercim{o your subject, making a much bigger image size with no light loss. | Teleconverters | There are times when our long lenses aren’t long enough; that’s when the tele converter is the perfect tool. Personally. T always have the 17x and 2x with me ‘when shooting wit the 600mm and tend toautomatically attach the 1.7x when Pm photographing birds. Generally, camera ‘manufacturers say their DSLRs require ‘an aperture of atleast f15.6 for AF oper= ation, but I find that most current boxties ccan work just fine with a smaller ma mum, For example, Tse the TC-20E. 11 ‘on my Nikon 600mm VR all the time and have AF operation except in particularly low-light situations, The biggest asset the {eleconverter brings is a narrowing of the angle of view, which gives a better abi ity to isolate the subject. | Depth Of Field | ‘The long lenses of today are all “ast.” bout don’t get the idea that you can close lots of depth of field, Per- sonal, I prefer shooting my 600mm fi4 at f/4 and at §16.7 with the I.7x attached. This is, in par, because the narrow-band depth of field makes the subject really pop in the frame. The other reason is because depth of field is a real battle with long lenses on the same lines as it is with macto photography. You ean close down your lens, of course, but the gain in depth of field will be minimal One thing I've seen many try, but rng success, is close their long lens down iedistance shot to get cus. I'm talking about hun dreds of yards away, but the same applies to miles. With lon; the physies are against you. You'll barely gain a few extra feet of depth of field when you close your lens down at the expense of need- ing a much slower shutter speed in the process. So the bottom line with a long lens is to be aware of the limited depth of field and use it to your advantage! down and, | Backgrounds | The greatest Feature of the long lens isthe complete control ofthe background! ‘The very narrow angle of view of the Jong lens permits us to make small moves with the lens and completely alter the background, Why is that so important? You can completely change the story of your one click by changing the back (Cont'd on page 118) rs want to become neighbo: aa nip erage eee eee et as the traditional roe fem Ed Ce a = See Sea and uniform locking force. It amen tational force compenstio RS en Ca SWISS p0 is precise core eee i device side Be arting from $229.- outdorpetographercom June 2011 77EF I l ont Find Your | ke pa Bt Pek ION How to pick the right lens to match your photo needs and your budget By Mike Stensvotd Fhuge beats sn Primary considerations for wildlife fe action cavers quite @range, from jonwhilestand= in a river (© quick and tiny birds apture ition lenses include focal length, lens speed, AF performance and cost: ‘The best focal length depends on your subje how close you can get to thy Focal Length d n. It's hard to get close to most wild subjects, so wildlife photographers gen: erally use long lenses: at least 300mm for an APS-C DSLR, or 400mm for a full-frame DSLR or 35mm. SLR. If you can get fairly close (o larger animals, a 70-200mm zoom can work. Zoom lenses do provide fr ning flex ibility, important when you can’t ceasily change the distance between you and your wild subject. Keep in mind that changing focal length— alters magnification and framing, but not perspective: you have to change camera-to-subject dis- tance to change that Lens Speed Faster lenses let you use a faster shutter speed in any given light level, which is obviously important whe brighter viewfinder image for easier composing more accurate focusing. The fastest lenses cenerally in the pro ling facturers so they also tend to have ru fast photographin; ion, Fast lenses also provide a from the various mar sd construction, superior glass elements and overall more refined designs, 78 Ow oor Phot pher ulsoortetgrapcompr a Cet Sa ibOn the downside, fast lenses also ust ally cost more than slower models for a given focal length or zoom range, and they're usually bulkier. Because of their size, they carry around into the field. Note that many lower-end and mid level tele-zoom lenses have Variable max- imum apertures: A 70-300mm /4-5.6 has a maximum aperture of f/4 at 70mm. and a maximum aperture of f/5.6 at Keep this in mind when con e-200m versus a fixed-focal Iength lens of the zoom’s maximum focal length, Also, the variable aperture is sel dom even across the zoom range (as we showed in a previous OP article, “Get The Most Out Of Variable-Aperture Lenses,” JanJFeb. 2011). That is, a 70- 300mm f/4-5.6 might be //4 at 70mm, but //5.6 from 120mm to 300mm, You just don’t get something for nothing. fe harder to handhold and to AF Performance The fast pro lenses autofocus more quickly and more accurately due to th better AF motors and algorithms, and the wider base they provide forthe phase- teleconverter, also known as a f \ le-extender, attaches between the lens and camera body, and increases the lens’ focal length by 1.4x or 2x (there few 1.7x converters out there). Adding ‘a 2x converter to a 300mm lens gives you a 600mm lens for a lot less money than a real 600mm lens. But there are a few things to bear in mind. First, converters reduce the amount fight transmitted to the image sensor Or fm (and to the viewfinder}: a 1.4x. converter, by one stop, a 2x, by tivo stops. This requires the use of longer shutter speeds or higher ISOs. Longer shutter speeds don't yield sharp action shots, so you'l have to increase the 180=not a big problem with today's DSLRs, more so with early digital ‘cameras and fim. The light loss also makes the image in the SLR finder dimmer, which can be annoying in dim ight or when trying to focus manual The smaller effective aperture also will slow AF performance, ‘and with some lens/teleconverter/ camera combinations, you lose ‘autofocusing capabilty altogether. Many SLRs can't autofocus with 80, Outdoor Photographer eutéorpetographorcam detection AF system You need a higher- end DSLR to ake full advantage of this. Ws true that a skilled action shooter can get sharp im: with just about any SLR and lens, whi an unskilled one won't {get good results even with the most costly gear. But it's also true that a lensleamera combo that acquires focus on the subject more quickly and tracks it more accurately will, in skilled hands, deliver more sharp action images than lesser gear. If you know what you're doing, and that merely takes lots of prac= tice, you'll be happier with better gear But if you're one of the many budgs limited photographers, we've listed some lower-priced lenses that can do wildlife action quite well (see the aecompany- ing cha) Cost ‘The fast pro lenses cost a lot more than midrange lenses, They're worth it feleconverters lens/converter combinations sioner than around f/5.6, ‘Second, the converter adds more elements to the optical system, thus potentially ducing image qualty, With good converters matched to {good lenses, this isn'ta big problem. With lesser converters and lenses, it ccan reduce image quality noticeably, Pro wildlife photographers often ‘add a top-quality converter to their expensive supertele lenses for more reach, while maintaining pro- quality images. CConwerters offer some serious advantages, however. First, of Course, they provide access to focal lengths that otherwise wouldn't be affordable for mary. Another benefit is that ccorwerters don't affect the lens’ minimum focusing distance. Attach a 2x converter to a 300mm f/4 fens that focuses down to fve fest, andl you gat a 600mm f/8 that focuses down to five feet—much closer than the 15-to 18-foot minimum focusing distance of atypical 600mm f/¢ lens. Yourarely get that close to wildifein the fel, bbut when you do, you defnitay want your lens to be able to focus! ‘ABOVE, FROM TOP: Sigma 70-200mm (1728 €X Di APO HSM Ui: AF VB Zoom- Nikkor 80-400 f/4.5-5.6 D ‘i; lymnpus Zuiko Digital ED {50-2000 f/2.8-3.5 in terms of image quality and AF per- formance, and their ability to stand up to harsh field conditions, But they ean be beyond the means of many of us. For example, a 300mm /2.8 lens costs around $5,000, and 2 600mm f/4 is close to twice that, so you probably have to look first at your budget when select- ing a lens or lenses for wildlife action. Here's what to look for in wildlife-action lenses on various budgets. Under $1,000 In the under-$1,000 e: looking at the tele-zooms; the single- focal-length superteles cost more than $1,000. In this price range, you'll find 70-300mm zooms from Canon, Nikon and Sony (we suggest you stick with the ones in the accompanying chart), and longer zooms from indepencent lens- makers, including Sigma’s 120-400mm, Tamron's 200-S00mm and Tokina’s 80- 400mm, While the under-$1,000 zooms don’t offer the speed of the higher-end superteles, they can do the job and get ‘you up close to wildlife action, $1,000-$1,999 ‘This is the sweet spot for many ded- icated wildlife shooters. In this price range, you get better-quality optics and better AF performance. Many shooters can’t afford the pro superteles, but a ‘200d 300mm f/4 lens from Canon, NikonTARN YOUR SEU CAMERA QUIPMENT N70 CASH UsedCameraBuyer.com pays top-dollar for used camera gear. Orremeanmatrcucrmeucemcrses BEI AEREEUNDTE instant quote and print your pre-paid shipping label. We send you a check when we receive your gear. No haggling. No disappointments. Just top-dollar for your used camera gear. Call toll-free 1.866.735.5444 or get your free instant quote at UsedGameraBuyer.com used camera buyerA_SELECTION OF LENSES FOR WILDLIFE ACTION Max. [Focal )Elom/ | Min. | Max. Filer | Diam. x Swoet Stop | Rangeinn| Groups | Focus | Magn, | Size | Lengthiny | Weight | Price Sigma 7-300nm 5 6 0605 456 [70am [iwi [4on [02x lemm [3000 | 13h | si, Tanon ? 70-s00nmn 45-86 DCIS [456 | 7oam [172 [aan [02x [eam | S609 [17s | so Tena AXE 80400 fH 85 4sse [eam [iio [azn [osm |vanm [aia [220 | si AESVR Zonder 70-2000 fASSEGIEED | 45.56 | 7000 [172 [aon [02s —|ermm | 31x56 [16s | $9 nan EF 70-300mm £/4-5.6 15 USM 456 70-300 [150 49m | 0.26x ‘Samm, 3.0x5.6 | 7.4 Ibs, $569, Cann &70-200mn fi USM 4 |rozm fists |a0n [oi |ermm | 3008 | 161s. | sooo anon SP 7-200mn #28 D 2a [roam fiers [31 fosax | 7mm | 3576 |25 ibs | sre ‘Sony 70-300mm f/4.5-5.6 G 4556 | 70-300 | 16/11 aot | 025x 62mm 54 | 1.8 ibs. $840, Signa 7-200mmn f26 & DSAPORSMN [28 | 70200 [yes [aan oa | 7mm | 34x73 [Solos | $0 anon SP 20-500mm 5:83 Dt s63[ao0s00 [ivi [ait [oam —|eenm [ana |27bs | so a 120-400mm 7/4556 APO DG OSHSM | 4556 | 120-400 |2is [aan [oz | rimm | 360 |89be | Sooo Signa T60-500nm /-63 APD 0G OSHSM | 5-63 | 150-500 Cig |e6nm—| 3709 | 42 Be jmp Ziko Dig ED 50-200nm /28-35 | 2885 | 50-200 azix | 67mm | 34462 | 22 bs. AS mor SOO 40 ED 4 ao oz | 77mm | 3568 [32 Caran & (00mm f/5.6. USM 58 [400 [osx —[ranm [33x01 |23 ts Canon EF 70-3000 45-56 00 US 4556 _| 70-300 [osm [Simm | 3209 [16s Caran & 70-200mm FAL IS USM 4 720 [o2ix [6mm [3068 |17'e Perla DA 60-2500 f/4 EDF) SDM 4 60-250 [oisx [67mm | 3266 [2s Canon EF 70-200mmn f2. 8. USM 28 | w-20 [ois [7mm —| 3376 [206 Pentax DA 300mm #/4 EDF) SDM 4 300 o2ax Timm 3.37.2 [2.4 Ibs. ama 70-200rm 28 BX 0G OS HSM 70-200 cist [7mm | 34178 [32 ee Caren & s00mm 7/4. Us 0 [azn 3587 | 26 bs Canon EF 70-300 fa SL SUS 70500 atk 3556 [23 be Say 70-40 455.6 7-00 azn 3078 [33s AF VR Zon-lbdor 60-400 7145 5BDED 0400 [oar 3667 | 29s Sigma 50-0 456.3 90 DG 05 HSM | so-so0 osex 486 [43 bs. Caran & 100-400mm 745-5 6115 USM 0-00 020% 36074 [31s Sony 70-200mm 2.8 6 70-200 a2ix 35078 |29bs Oympus Zak Diga ED 25-100nm #20, 20 [ass aie [468 | 00x | 77mm 26 ts APS Wider 70-200nm fas EDVR | 28 | 7-200 [aie [an | axa | 77mm — ss anon EF 70-200mm fa USM 28 [m2 —|2io [390 [021% | 7mm | 3578 33.bs Sigma 120-00nm 72.6 EX 0G 05 HSM 28 [ian 2x8 | 49-02R | 01x | dorm | 45nd | 36 Bs Sigma SOO #723 © APO D6 HSH 28 [ao [9 Tarn fora ‘area [53s Garon EF Sim 2.18 USM za [sng —fa2n fora mn [5009] 17 bs Sigma mm #745 Ex DG APO FSH 45 [smo] te tsk | 01a |asmm | carga 59 bs APS Wir 800mm 72.86 €D VR za [amo [tia [75 [ose [samm | 4oins [64 bs. | $5,000 Sany 300mm #728 G za [ao [rata [eee [orm [4mm | 4005 [51 es | $6200 Caron EF 400m fi DOTS USE 4 a0 firs 1s fara Son’ | 5004 [43s | $6940 Oympus Zuko Dig ED 200mm f728 za [amas [ran [orm [aanm | s0ai2 [72 bs. | $600 Canon EF sot 2. 1S USM 28 [ao [tata fe5n | 01x [sanm | s0a8 [52 bs. | saso0 Sigma Gm #154 © APO 0G HSH 56 [en [iae [229 ai1k | aemm? [620205] 104 bs. $6 500 AF Witt 200-400nn 4G ED VR 4 raoang [ai [65m [2% [Samm | 4ontea [74 ba, | $6,000 Caran S00mm 74S USM [a suo [178 [1481 [012% | sanm= [94x52 [65 ms. | $6000 Canon EF Ain 728 LIS USA 73a [7s [aan osx Saria7 [11.8 s._| 87800 Sima SO0-800nm 5.6 EX DG APO HSM 56 | so0-e00 [tas [197 | 01m S2ei3 | 120s. | $7800 APS Wk 500mm (46 EDVR 4 soo [ai [¥20n. [ox 55xi54_ [86 bs, [$0579 Canon EF Bn /4L 16 USIA 4 em fara |ason | oxen Sengo [1186s | S800 APS Migr ACO 72,86 €D VR 28 [400 |vwtt [aon | o1ex 6ari45 [102s _| S890 anon EF Sn f/4 181 USM 400 feta rs fn S751 [700s | $0400 APS Mgr 60min 746 ED VR 4 emt fawi2—[isyn_| ove e5ni75 [112m | $10200 anon EF dot 728 LIS NSH 2a [40 |i7s [oan [or ania? | 118s. [10400 Caren EF Gm iS 1 USM 4 oot [rwi2 | wan na Sori76 [e6me, | Si1900 Caron EF son 715.618 USM 8 [eo [iste [rar fox aria |29.,_|$12400, Sa 200-500nm 726 APO EXE 78 | mw-s00 [73 [Be 4A] OTH 95286 [340 bs, _| 925.909 ens See es Tee Ee eee se rT Tavon's 70-300mm is avalable in mounts for Canon and Nikon SLRs; the 200 Se ee Seen oT Se ee tdsl Me noe ONE-DAY SEMIN ‘oui With over 40,000 photographers and Photoshop Users acend- Ee a aca een most popular seminar tours in the world for creatives! And, the Offical Pee ee eee tenes Cemetery experts on the planet ll sharing their latest ips tricks and advanced pro techniques. Poteet yet act fetes Coccccccccosocoe FULL DAY OF © LIVE TRAINING ( $ FOR ONLY |; he), PERE RE ERS VISIT WWW.KELBYTRAININGLIVE COM FOR CITIES, DATES & MORE INFO. PRESENTED By eo a PeaAILT: Ketal ee ed Ep All 1 E24 presleyFine Ayt Camera Phone Photography ith the advent of new highly capable ‘cameras in various smartphones com- bined with very cogent apps, we're now able to create images and opti- mize them almost exactly as we would in Photoshop. I call it Phoneography because I use the iPhone 4, and I find it has expanded my creativity ‘An increasing number of apps are able to manage larger file sizes. Forexample, AutoStitch can stitch together a series of images that are 5 megapixels each, which can result in an 18-megapixel file (the maximum size AutoStitch allows), depending on the amount of overlap. Many, but not all, apps can handle high-resolution files from 3 to 5 megapixels. Knowing which apps won't downsize the image is of paramount importance if your tend goal is to make prints. Sometimes you have to hunt for information about file sizes, but you usually ean find i in the System Preferences or under the (i) Information icon. Some apps allow the user to select file size when saving. If you intend to do no more than display on a computer screen, all apps work great ‘Various apps can ereate everything from a totally natural look to one that’s highly manipulated. Person- ally, if I want purely natural, I'll use my DSLR or my Leica or Casio point-and-shoot cameras, all of which render sharper images than my iPhone. To me, the allure of the iPhone and the apps is the ability to create highly stylized, completely unique images from of-photographed locations. I want to experiment and expand my creative side by revisiting these places with a new approach. Any new camera, software or technique that can take me off the beaten path is @ welcome tool 86 Quidoor Photographer outdorpotoraphe.comUsing a bevy of sophisticated apps, Tony Sweet shows how to expand your creativity and make wall-worthy pictures from an iPhone Text And Photography By Tony Sweet hen using the iPhone, it appears that al of the shutter speeds are the same, as the ‘camera clicks at the same rate ‘with each exposure; however, that's nat the case, Ifyou check your metadata on any iPhone image, you'll see diferent apertures, shutter speeds and ‘white balances. It may sound a bit crazy, but I frequently use an iPhone triood mount (iphone tripodholder.com) where I've attached a Really Right Stuff G10 L-Plate to use on my Gitzo GTSS40XLS tripod and Really Right Stuff BH-55 ballhead. This approach can hamper some of the spontaneity, but for sharp images in low ight, ‘for HDR and for stitched panoramas, a tripod is strongly recommended in order to get cisp images, On the other hand, ‘when shooting in bright ight, ‘can handhold, and even i'm making a panorama or an HDR, image, | can stitch the resuling frames perfectly | overlap by 50%), No matter whether | handhold or use a tripod, the iPhone is a phone, and wile its cameras good, images aren't as razor-sharp as with a DSLR, ‘which necessitates at least one sharpening procedure during image processing LEFT, CLOCKWISE FON TOP. ‘AutoStite;Pertect Photo; ProWDR;Flterstorm 2; ic Granger; coutdoorpetoprapheccom June 2011 87=a baa) Rees) Bec) The Apps ‘The apps for the iPhone run the gamut from elementary (o advanced levels. Some feature sophisticated features like wotk- ing with layer masks, overlay images ‘and texturize. The more I shoot and pro- cess in the iPhone, the more I've devel- oped a systematized workflow. To help ‘me choose from the bewildering num- ber of photo apps available and because my goal is to be able to make prints, my criterion was only to pick apps that main. tained the native file size, This limited my mostused apps down to about 15 from the hundreds available, Here are a few examples of my favorites to get you started in new photographie endeavors, Hipstamatic, When opening the Hipstamatic, one of your first choices 88 Outdoor Photographer outsorpetagraphorcam Pic Grunger is the “lens” you want to use. Moving on from those choices, the “film” set- ting is selected by pressing the film can- ister icon at the bottom left, By pressing the curved arrow icon at the bottom right, the interface flips to the second sereen where the image appears in the finder window. You can see effects imme- diately and change settings as desired. One of the most popular and very cool settings is the John $ lens and the Kodot film selection, Several war images from Afghanistan that were shot with the Phone and this lens/film combination have appeared in The New York Times. ProHDR. ProHDR is a great app for creating HDR images on your iPhone. ‘an iPhone tripod holder for HDR images, this app is very good Perfect Photo at joining the two images it produces- one for the highlights and one for the shadows—if you hold the iPhone rea- sonably still. Using ProHDR, I took this serendipitous image from my room in the Smokies during a workshop. T had no time to set up the tripod, as the light lasted only a few seconds. Iheld my arms against my chest to steady the camera as much as possible. The sofiware had no problem combining the two images. ProHDR gives you three useful options, Auto HDR, Manual HDR and Library HDR. The Auto HDR setting is the most used as it’s good at assess- ing exposure values. In Manual HDR, you can choose the highlights or shad- ows. Library HDR can blend any two images from your library. This ean be‘an HDR series or any two images for a wild special effect, Pic Grunger. Texturizing and the so- called grunge look are cool and popu lar these days, Using Pie Grunger, took an image from Thunder Hole in Maine’s ‘Acadia. National Park and applied sey- eral effects. Clicking on the Fx selec- tion in Pie Grunger brings up the Effects photo wizard, I clicked on Texturize to experiment with various textures and ‘opacities. Next, [called up the Pic Grunger ‘Aged Effect to add low-opacity grunge, which enhanced the overall texture. Perfect Photo. One of the better ways to sharpen is in Perfect Photo because it gives a large split screen of the before-and-after effect, My initial mage was shot using Hipstamatic with the John S lens and Kodot film. Using the Perfect Photo split screen, you can get in close to see the effect ofthe sharp- ening adjustments. Even on my iPhone’s small screen, the adjustments are €as- ily visible in this zoomed-in view. Impression. Particularly if you're going to post images online, it’s a good {dea to imprint your name on the actual shot. To do it ina visually pleasing way, SSE Impression Luse Impression. I can control the font, size, opacity and color of the type, ‘well as where it appears on the image. Panorama Using AutoStitch, Photo Forge, PhotoStudio And Filterstorm. I seldom use just one app when I build ‘up an image, When T was on a trip to Iecland, I took a series that I wanted to build into a panorama. In the end, used several apps to create the final image, each one building upon the effects of the previous app. Using my iPhone 4, I’ve created stitched panoramas of up to 46 images with AutoStiteh, For a sequence I shot in Iceland, T opened AutoStitch, then in the Selected Photos window, I simply pressed Stitch, To create the complete Took that I wanted, I used PhotoForge to sharpen and add a watercolor fil- ter at a medium opacity. This final move texturized the image. The stitched panorama was saved at the original resolution, 18 megapixels. I opened PhotoStudio and selected the Vintage Red Filter at a low opacity to slightly color the clouds, In Filterstorm, contrast was increased and the image was cropped to clean up the edges. ERE 4 Hipstamatic Other Apps | Use ‘Thisaticle covered some of my favorite apps, but certainly not all. Here are a few ‘others that I highly recommend! Iris Photo Suite—Layers, op: blending, textures PictureShow—Eages, special effects TiltShift—Controlled blur PhotoArtista—Adding brushstrokes and texture ‘ClearCam—Eliminates blurand noise finarX Image—Control perspective ‘Sketch Me!—Textured image good for blending or Tony Sweet is «a professional photogra- her, lecturer, online instructor, work- shop leader and Nikon Legend Behind the Lens living with Susan and Akira in Eldersburg, Maryland. Visit his blog at blog.tonysweet.com. ity — +1 MORE On The Web Vat 0 one eo foe cane wn exteg pes and ea hen ou er ue eres 6 0 wuneutdoophologaphercon! anette a sgn up the 0 hemst to Stay Etre on necro ‘4 ProHDR, coutoorpetopraphaccem June 2011 89Use your GPS as a comprehensive location scout and to share images with others ‘ou don't need a camera with built-in GPS to geotag your mages although such devices make it simpler since they do it automatically as you shoot. You can get a separate GPS unit that connects to your which also automatically geo: tags each photo as you shoot but you must connect the separate unit to your ‘camera in a manner that provides it with access to the GPS satellites overhead). You can use special geotas ware and a handheld GPS the camera's clock with the C clock, then the software can tag the images (in your computer) based on the GPS-logged positions at each image’ time of recording, You even can geotag images manually using any GPS unit: Just photograph the GPS unit's display right after you take a photo to record the location data, then enter the data into the image’s EXIF metadata at your com: puter (this is certainly the most labor- intensive method of geotagging image Once you've geotagged images, you can use that data to search for images shot in a given location and look up exactly where a given shot was made. You aiso can plot your images on maps, showing exactly where each image was mace, Once you've made your photo otag- (Cont'd on page 104) 99 Quidoor Photographer eutdorpotoraphe.com ‘Magellan eXplorist 710Turn your used photo equipment into cash! | WePayTep Dollar are ete hee ated with Adorama Used Marketplace. SoA ees beolmet Cou aa ay mM ed at: adorama.com/sell We want to buy your used or unused photo equipment! ea esa om eaueraas ‘Adorama spent millions of dollars in 2010 buying 35mm, Phone: ‘Medium & Large Format, Scopes, Video and Digital equipment. Ee rE mL) Oe Mite Rete ea aera We were able to satisfy them by simply paying above market value. f ET UCR CE ere Laem et ac oleae ears Cele etry ere erere sans ER coger a cote eeearrice FAST aan aaa weap er ae ree ca Bac reaiered Cee Bo pickup in the USA, oF Srna Sea ACL aL pe geass ntaastots meee CS este eat [Pera eee eras apse eben Herbed heer bean ; x 7 Slater Drive ie] cy iy irae = ee et ae BO ae eae oe Pa a ANGRAMA EZ ol ee YS THE PHOTOGRAPHY PEOPLE ann ae TO ae ‘Tenba Skooba Superbungee A cary heavy cameras despite the aches. The second rub comes from the fact that most camera straps brightly advertise that you have an expensive camera on your person. From the standpoint of security, that can be undesirable. OP/TECH USA > The good news is that there are many outstanding neck straps available that will protect your camera while saving your neck. | tend to avoid those with metal connectors (that can scratch cameras) and gravitate toward straps with nice, wide pads that distribute the weight over the largest area possible. Straps that quickly disconnect close to the ‘camera body can be stowed separated from the camera during transport. That makes it easier to pack your DSLR into your bag Without the danger of scuffing the LCD with the strap hardware. As a general rule of thumb, look to your favorite camera bag manufacturer; Aun Sniper Who Says Your Strap Needs To Go Around The Neck? T= Zing Designs Action Strap wraps around the back of the right hand, holding it snualy against the camera body, in a similar manner as the strap found on most camcorders, Because il attaches to the tripod socket, It can be used in conjunction with conventional neck strap. Nice touch: It features 1 bett cip so you can temporary hang your camera between shots. It’s A Vest? It’s A Holster? It’s Both! C= Carter is leary in a dass by ise Its a complete carry solution, as well as ‘completely new approach to the age-old problem of carrying a lot of camera equipment ‘on one single human body. The Cotton Caner 100 CCS Camera System is engineered to accommodate one or two reguar DSLR cameras and comes with a unique one-size-its-al adjustable vest. It features a side holster that's made of the same space-age material as the vest. In total, the system handles cameras comfortably without the aches and pains associated with traditional, old-fashioned neck straps. You can carty virtually any size of camera and lens combination with confidence thanks to the cameraocking system and always bbe ready for action. If you tend to tote a ton of gear and are looking for a comfortable system, check this one out 94. Outdoor Photographer eulsorpetographorcamthey usually offer a line of suitable neck straps. Here's the rundown of some of the best. A longtime favorite of many photographers, the Tamrac Anti-Slip (Mode! N-17) strap is made of nylon with two ful-length rubber tracks woven into the material to prevent slippage. The quick-release buckles allow the camera to be removed for tripod or copy stand work and can be terchanged with all other Tamrac Quick-release straps. It adjusts to 41 inches in length. You'l probably never find a neck strap mote unusual or comfortable than the Crumpler Industry Disgrace. Designed specifically to protect your neck, it's extra-wide in the middle and extra-long so you can adjust the length to suit your needs. The ergonomic neoprene neck pad sits on a breathable airmesh strap. Nice touch: The neck pad features a lanyard slide-through so you can thread your binocular straps through the pad and redistribute that weight, 10. Constructed of 900 denier flamed polypropylene and dual-layer nylon-reinforced PVC, “i's soft where it matters but strong where it counts.” You'll find many professional photographers using Domke Gripper straps because of their long history of high quality and performance. Available in 1.5-inch and 1-inch widths and three different colors, the Domke Gripper is made of the same thick webbing used on all Domke bags and has Gripper nonslip tracks woven in—which means It wil never slip off your shoulder. Swivel clips keep the straps lying flat, untangled and easy to remove. Available in adjustable lengths up to 42 inches. The Lowepro Transporter will pass every test as an everyday, all-day-long, comfortable neck strap. The nonslip padding means your ‘camera will stay in place, even when vigorously hiking. The detachable memory card wallet provides access toa spare card while in the field (t never hurts to pack a spare). The side-release buckles make it convenient to remove the strap for easier packing in a gadget bag and provide quick interchangeability with another camara body. Lowepra's double ladder-locks guarantee a secure connection to your camera, OP/TECH USA offers one of the most complete assortments of straps and grips, ranging from the super- secure Grip Strap to the Double Sling and Dual Harness, with the Gotcha Wrist Strap in between. An all-time favorite, however, is the Pro Strap and Pro Loop Strap combo because they allow you to change your strap to match the lens you'll be using on a particular day. You can comfortably carry professional cameras with large lenses because the curved neoprene pad evenly distributes weight on your shoulder or neck. Everything stays in place thanks to the tacky nonslip grip. OP/TECH products are made in the USA, come in a variety of attractive colors and are quite affordable. One glance at a Sun Sniper strap, and you know you're seeing something different. Watch it in action, and you know you're on to something terrific. While conventional straps that attach to the eyelets on either end of the camera limit camera motion to one axis, the Sun Sniper straps are based on a bandolier shoulder sling design and attach securely to the bottom. That means that instead of applying pressure to a limited area on the neck (or shoulder), the weight of the camera and lens is distributed diagonally along a padded shoulder strap. Based on 19th- century U.S. Cavalry design concepts (rence the name), the Sun Sniper system also allows you to get your TAMRON ar Lenses SE Dr=tecoh ogiale imsianeas + Dl‘ Ug as ny ‘holaseler Rate ke nr soe. 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ERE fermoonag fsrerste soo fe msonescestey Sana nen ‘sree 3 Sa te Siew freee saison eee ae steease te nope ‘SoosreDsoh stinonebeak, ASano7ceh exces Prsse te ior Favor ia anne race Isiecn ecm “mon be exons bane DDL ut rsouaw ‘eae tsmpuwe sae ters i =n Seecue? —ecfowel —farsels ——grenon s x ‘amnon Tokina ¥6-200mm 1195-03000 17-stmti20 6X06 05 Se 12.010 Moore De 110mm 12.0 POX ATX Dion Dit Ls Digs ers Frye igi. + aipwacueray nr opts | «tas ese + og taney + aoe sn Dg 58 tee (oD ss eee StanBAGS & CASES (@ WEA Ps 3n1 Sling/Backpacks down Scanian hore re rig few anu ston sie $10 {Grepro Fastpack Backpacks ‘ @ESMEBE: Aero Backpacks oon MEP TS Sm ak Sinem 3 wa pice” ‘si0800 siaass a manerotto 190X Series Fercnial ich pce coon fegiestegd manerotto 055% Series | Cr a rs 035 Snas Sous Seas Cie | Sao Sia) fo ss koe Geshe 26s VEEN eno) (COLOR PRINT FILM BLAGK & WHITE PRINT FILM i PROCESSING MAILERS FUJIFILM "ha Side Pree AN ren FUJIFILM vo =e cis ILFORD FUJIEILM ora. sy Pia Abe ad aoe Ree ering AAW ASE: eae Elo T yet L i pa PETE Blot) Pare eae) ore crs oa ar Coney Web Sl an Tae Peete, | og SRR og ees onNT Gra GAS Ana rel U al ie Pas ACTION GRIP LENS PLATES Den » é (CAMERA PLATES BALLHEADS, Ce Toon rnd eR Cra Al eC Ceca) Pee ee Ce eee me PROUDLY MADE IN THE USA! Zy KIRK enterprises ’ www.KirkPhoto.comprotect your gear f they Keap rain and fe equipment, and they jowing you to use the ‘= = need ‘equipment with the LensPouch Yee ‘aan Seen e Akt he mp) ey Sage PROTECT YOUR CAMERA BODY {ition fret Sur alee Bodyfiag Series iio sis: Orwact, Prsumor, Pro abe Bu, Gan renee ‘BodyBag with Lens Series * Designo boty with pt 4.5" ons LegCoat Thped Covers Sees plo 2 yeti 212-444-6653 Fe Pare aac) “FF Quick Dials errs er ee eee Flash Aeco880168 an 88 We uy Sel nd Tae Peotone, |g Ree ed Meets tt rytraveler (Cont'd from page 47) ‘A wide-angle view, there were three boats in the foreground, with the fish- termen and their birds lit by the light of the lamps that hung off the boats’ prows, with the mountains of Guilin looming in the blue twilit background, It was a Killer shot, and one that I had seen before, taken by @ good friend of mine, a pro shooter. who runs photo tours to Asia ‘and made this shot famous in his award- winning portfolio many years ago. During the interview, the contest wit ner was going on about her camera, shut- ter speed, film and how she composed it and how she always has had an eye and should go pro, ete. (modesty wasn’t one of her strong suit). It wasn't until I prodded and prodded that she reluctantly volunteered that, yes, this shot was made when she was a par- ticipant on one of my friend’s tours, and no, she didn’t know where or how he found the fishermen and arranged for them, their boats and their birds to be in exactly the right spot at exactly the right time! But, by George, she did take the picture (as did all her fellow tour members)! ‘That shooter was proud of the beau- tiful shot, but also totaly missed the point because it was my friend’ proactivity, his research, his investment of shoe leather, time and persuasive skills, and finally his generosity in sharing and re-creating one Of his most signature photographs that ‘made that shot happen for her. In this cease, taking the picture really was the eas- iest part ofthe process, and taking credit for it would be about as authentic as re- creating the Mona Lisa on a sophisticated paint-by-the-numbers canvas and then claiming to be another da Vinei “These day’, with the immediate world- ‘wide dissemination of photos on the Net, it would be hard to get away with some- thing like that because everybody would have their version uploaded and entered into the contest as well. But it does point (0 the need for us fo be more original, ‘more thoughiful and more proactive in our travel coverage so our pictures don’t Took like everybody else's. We need to make better travel photographs by cre- ating our own inspiration! or Fora schedule of Bob Krist's workshops and seminars, check his website, wwubobkrist.com, under the “Teach and Talk” heading 18 Outdoor Photographer outioarpotographasom STOKING THE FIRE (Coma from page 61) Not only a reason to pick "up my camera again, but it gave me a reae son to follow a new path back into a ere- ative world that I thought T was done with Hewasa path that vas very excited about 've been on a mission to photograph historic places and objects around the West and Southwest. My jour- -y has taken me from Golden Spike National Historic Site in northem Utah to the Pony Express Trail to Route 66 on down to Tombstone in southern Arizona, with many stops in between, Out of this journey my Ghosts of the West: Celebrate the American West—The History, The Lore, The Culture photo series and book were born. So many of these historic places and things are disappear- ing, and I feel its my mission to docu- ‘ment them and make them come alive again with my photographs before they're ‘gone and to document what’ so uniquely ‘American about this part of the country. Tove what I do and fect so fortunate to get to share my passion for the West and Southwest through my photographs, and Thave HDR to thank for opening up a whole new world (again) to me. oF Cheyenne L. Rouse isa self:taught pho- tographer and has been a professional since 1989, when she felt the call of the West, She has written numerous maga- gine articles and monthly columns. With her unique vision, she captures the subtle moods, the textures and may- be the ghosts that somehow live on in the rusted, abandoned artifacts of the (Old West, Rouse now makes her home in Scottsdale, Ariz. Go to wwwancient lightphotos.com or visit the Ancient Light Gallery in Scottsdale. +) MORE On The Web Hone oa vary of note nae potrners are bogpes, te O° tn isa ae fr ates 1oenoy day ues 2 pats rom a group ot lta so phen. Ws wanwoutor Dotgraphercon/beg ose mre! — LONG LENS (Coma from page 77) ground, You make the smallest subjects fly Off the page with the slightest moves of thebig glass. Photography ill about eom- rmunicating, and when itcomes to wildlife, telling the story of the world around the suibject tells the story of the subject. How do you make stch a radical alter- ation to your photograph with the long lens? All you have to do is move left or right, up or down, closer or farther from the subject just inches and you can alter the background. Of all the tools avail- able to photographers, this is the easiest and the most powerful way of bringing incredible drama to your photography! | Practice | The last word of advice Td like to pass along to you is to practice in your own backyard before venturing out for the real thing. Set up a stuffed animal the size of what you think you're going to photograph in the wild and see just hhow that long lens helps you tell its story. Having these ideas as visuals in ‘your mind prior to the real thing makes Setting them up in the field faster, eas- ier and more suecessful. This way, you can make the most of and have fun with the long-lens days of summer. oP Moose Peterson's true passion is wildlife photograply: He's a Nikon Legend Behind the Lens, a Lexar Elite Photographer, a recipient of the John Muir Conservation Award and a Research Associate with the Endangered Species Recovery Pro- grain, Being a creative innovator of new techniques both behind the camera and the computer isthe driving force behind his photography and goals. See more of Peterson's work, read his blog, subscribe to his newsletter, the BT Journal, and Jind out more about his tatest book, Captured, at wwemoosepeterson.com. MORE On The Web Fm starr ping fo ret, te How 1 secon of OP an he ne sae 3 west a! 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Allsoftooxes come Pane =] HASHPOINT ‘Shoe Mountable 160 LED Ae)130 Outdoor Photog Goose Down In order to graze underwater on silt and aquatic plants, Canadian geese are often found with their heads in the water and their tails in the air, so much so that photographer Gareth Kidder Jr. had a wild goose chase getting the shot he wanted. “I took this photo one afternoon at a local pond in Sanford, Maine,” he says. “I made several attempts to get into position for a better shot. They were not cooperating at all. Just as I got ready and focused Jor the shot, they all flipped upside down to feed! I thought it was humorous so I captured this one image. Maybe they were trying to tell me something.” (Canon EOS 20D, Tokina ATX 400 AF 400mm f/5.6 her eueorhetoraphe:comPack your gear. Go fast and light... £When | go for a trail run, | like Peas anctae ‘moment. is uitra lowepro’ and ultra act Ka, lowepro.com/photosporteA shot. Little camera. 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