Brad Hill: Blog: Photography. Nature. Gadgets. Software. Conservation. Whatever.
Short-winded blatherings on whatever is currently occupying the part of my brain that deals with photography. Updated sorta weekly.
21 July 2010: Off to Gwaii Haanas on Haida Gwaii...
I leave early tomorrow for 10 days of shooting on Haida Gwaii (formerly known as the Queen Charlotte Islands). My shooting will be focused on the southern island within Gwaii Haanas National Park and the newly created Gwaii Haanas National Marine Reserve. This area offers a huge array of photographic opportunities for a nature photographer - from Orcas and humpbacks through to seabirds, sea lions, seals, bears (in fact, the largest subspecies of black bears found in North American resides on Haida Gwaii), landscapes, and - of course - ancient Haida villages, complete with standing totem and mortuary poles. Given the diverse subject matter, and the fact that I face a total weight limit of 50 lbs of baggage, my biggest problem is trying to figure out exactly what gear to bring! One thing I can say for sure - I won't be dragging my huge glass (600mm f4 or 400mm f2.8) along with me!
I WILL be testing out a few new bits of gear on this trip - an Ewa-Marine underwater housing (for my D700), the new(ish) Nikkor 16-35mm f4 VR and a D3x (and my thanks are officially extended to Nikon Canada for putting the D3x in my hands for this trip!). Expect my usual honest, straight-shooting feedback on these items upon my return. Oh yeah, and maybe expect to see an image or two!
Back online sometime in the first week of August...until then...cheers...
Brad
Feedback to: feedback@naturalart.ca
12 July 2010: The Power of Visual Contrast...
When teaching seminars on nature photography, I commonly get asked either "What do you look for when you're creating an image?" or "What do you differently in the field that others don't?". These questions are related, and I have thought about the answer a lot. Here's my best shot at an short answer: I look for things that visually appeal to me. Not good enough? Well, here's a slight expansion of that answer - I look for:
1. The Standard Compositional Elements: I've read the same books on general compositional principles that most everyone else has read. So...I go into the field thinking about the rule of thirds, the impact of leading lines, the power of the diagonal, the appeal of repeating patterns, etc., etc., etc. And, when I'm working with wildlife, I add in looking for natural axes in the image (to decide if I'm going vertical or horizontal in my composition), leaving some room for my subject to move into (within the frame), and blah, blah, blah. My "etc's and blah's" don't mean these principles aren't important - they are! But they're hardly novel and hardly worth writing about. But, I always try to stack another layer of complexity into my compositions, which I call...
2. The Priciple of Visual Contrast: It's my belief that our visual system - and that of most animals - is designed (or has evolved) to instantly detect visual contrast in a scene - if something is different it sticks out and our eye is drawn to it. For a photographer, this visual contrast can take on many forms, such as: A) standard light/dark contrast (think about how a light subject on a dark background - or vice versa - sticks out OR think of the drama of the light/dark regions created by shadows in a strongly side-lit scene); B) contrast in focus (sharp subject, out-of-focus background); C) contrast in motion (or in motion blurs - with some element of an image in sharp focus with other elements blurred); D) contrast in colour (think of a single orange flower in a field of green grass), etc. If you stop and think of it, you can come up with many more "photographic devices" that all boil down to one simple thing: visual contrast. So, when I'm in the field I'm always seeking out scenes (or subjects) where I can find a way to layer the principle of visual contrast on top of basic compositional principles.
The take home lesson? Well - nothing particularly complex, but for me it works to always being looking for ways to maximize (or - more correctly - optimize) the amount of visual contrast in a scene while keeping the tried-and-true standard compositional guidelines in the back of my mind. And I try to do this regardless of the type of image I'm shooting - wildlife, landscapes, portraits, or whatever! Just remember that visual contrast can take on many, many forms...but is almost always visually interesting.
Want a real world example? Check out the image of a grizzly shaking water of its face (entitled "Faster than a Blow-dryer") in my Gallery of Latest Additions (and make sure you click on the "In the Field" tab below the image for a more detailed discussion). Just something else to think about when you're in the field! ;-)
Cheers...
Brad
Feedback to: feedback@naturalart.ca
12 July 2010: Gallery of Latest Additions Expands...
In the last while I've received a few emails asking me why the images in my Gallery of Latest Additions disappear so fast. The almost glib answer is that I must update the gallery too often (and because it has only room for 6 images, they cycle in and out pretty quickly). Two ways to solve this problem - I could add images more slowly and let them sit longer or I could expand the size of the gallery. Well, I'm sure if I let the images sit longer before refreshing I'd get some complaints, so I just doubled the size of the gallery to hold 12 images. Check it out...
Feedback to: feedback@naturalart.ca
28 June 2010: Photoshop CS5: Is the Upgrade Worth It?
Since promising to provide my intial impressions about Photoshop CS5 way back on May 6th (where the heck has the time gone!) I've received a lot of email from photographers asking me if they should upgrade. Well, here's my best attempt at an answer...
MAJOR CAVEAT: I am writing this TOTALLY from the perspective of a NATURE photographer who primarily shoots WILDLIFE and who does not perform what many consider "manipulations" on my images (e.g., I use the clone tool only to remove dust specks, not image elements). And, I'm very comfortable with most aspects of image-editing with Photoshop and how a WILDLIFE photographer is likely to use Photoshop. Other types of Photoshop users (e.g., graphic designers) or other types of photographers (e.g., product photographers who work primarily in a studio), or those inclined perform large-scale image changes (like removing major image elements) may have a viewpoint that is VERY different (yet totally legitimate) viewpoint than that which I'm expressing here.
When one deciding to purchase new image-editing software most nature photographers face two inter-related questions...
1. Is the upgrade really worth the money in some tangible way?
2. Will the new software significantly improve the appearance of my images?
The one-sentence, cop-out answer to both questions: It depends. And here are just a few of the many things on which it depends: On how YOU use Photoshop. On YOUR philosophical position on making major image manipulations. On YOUR particular configuration of hardwear. And, on YOUR raw processing workflow (and how often you buy new cameras).
So let's look a little more closely at these criteria and whether or not it's worth it for you to upgrade to Photoshop CS5...
1. New Tools and How YOU Use Photoshop. The headline-making new (or refined) tools in CS5 include improved means of making complex selections (allowing you, according to Adobe to "select specific areas within an image in fewer clicks") and ways to remove image detail or object in an image using either Content Aware Fill or the Content Aware Healing Brush. Hmmm...I almost never have the need to make precise selections in an image (tho' many graphic designers or studio photographers often WOULD have this need) because I tend to work with layer masks that I "paint" away with the paintbrush tool. So I could care less about the refined selection tools...
What about the new and highly touted Content Aware Fill? With this tool you can make a rough selection of an area you want to remove and then let Content Aware Fill figure out what to cover the "offending" object with and what to fill it with to nicely blend the now empty space into the background. Well, in most cases it works very well - it's very smart and in some types of images it's almost impossible to tell that an object has been removed from the image. So...it can work well - my hat is off to Adobe for figuring out how to do this. But then comes the stickier question: SHOULD you use this tool in your image-editing? This is a MUCH bigger philosophical issue and every photographer has to decide where they stand on this type of image manipulation. Personally, I limit my use of the pre-existing tool of choice for image doctoring (the Clone tool) to removing artifacts of the image-capture process (e.g., removal of dust specks on the sensor). It's my view that free and widespread use of the cloning tool, and now Content Aware Fill, by nature photographers leads to a mindset that photographs of nature SHOULD be ultra clean and sanitized. Which is, of course, ludicrous. I even think that widespread use of these tools can lead to a distorted view of nature by those that rarely get out of the city (after they've seen countless sterile images of nature they may actually expect nature to be totally pristine and distraction free!). But I digress. For me, the new Content Aware Fill is something I could care less about...but others might really, really like this feature and find it to be reason enough to purchase CS5.
And the "new" Content Aware Spot Healing Brush? Sorry, while I see the power of Content Aware Fill, after playing with the Content Aware Spot Healing Brush I can't see where it adds anything over the Clone tool (especially if you know how to vary the opacity of the cloning).
2. Photoshop CS5: 64-bit support with the RIGHT hardwear. OK, if you're a Mac user with an Intel-based processor, a reasonably current version of OSX, and lots of RAM, then the fact that Photoshop CS5 is now 64-bit enabled is AWESOME! Why? Well, now that Photoshop is able to take advantage of more RAM it can, with the right hardwear, just FLY! I'm lucky enough to have that right hardwear configuration (a new Mac Pro with dual quad processors and 16 GIGs of RAM) so CS5 just rips on my machine. For me, this speed bump alone made it completely worthwhile for me to purchase the upgrade to CS5.
3. The "Must Buy for Camera Compatibility Issue". If one uses Photoshop to convert their raw image files (using the Adobe Camera Raw - or ACR - plug-in) and that same person has a penchant for buying new cameras, then Adobe more-or-less makes it mandatory for you to upgrade to Photoshop CS5. Why? Well, Adobe's way of keeping up with the raw file formats introduced with newly released cameras is to produce updated versions of ACR. Seems like a good idea - right? However, once a NEW version of Photoshop is introduced, Adobe upgrades the ACR for that version of Photoshop ONLY and if you need an ACR update you MUST be using the most current version of Photoshop. Which more-or-less means Adobe has you by the neck!
Real world example: Say Nikon introduces a new D900 in July of 2010. The current version of ACR (which is version 6.1) won't recognize or convert the raw files from this new camera. So, Adobe will come out with an updated version of ACR in short order. But, they'll update only the version for Photoshop CS5. So, if you're using Photoshop CS4 you're outta luck - you HAVE to upgrade to Photoshop CS5 if you want to use ACR to convert your RAWs. Is there a valid technical reason for Adobe to do this (i.e., make updated versions of ACR incompatible with older versions of Photoshop)? I don't know. But it's real easy to think it's a sales-enhancing policy....
So...back to the key questions...
1. Is the upgrade really worth the money for the average nature photographer? Well, it depends (go back and re-read the above). For me and my specific configuration of hardwear the speed bump associated with going 64-bit has made the upgrade worthwhile. Nothing else in the upgrade is significant to me or my workflow.
2. Will the new software significantly improve the appearance of the images of the average nature photographer? In my opinion - nope.
Feedback to: feedback@naturalart.ca
17 June 2010: Khutzeymateen Postscript #1...
During my recent "Grizzlies of the Khutzeymateen" photo tour I decided to really "stress test" 3 new pieces of equipment (or systems) under tough conditions to see how they'd perform when pushed closer to their limits. While I had used each of these bits (or systems) for several months before the trip and had a decent handle on what they could do, the Khutzeymateen field test told me a lot more...
1. Nikon D3s. I've made no secret of the fact that I've been very pleased with the performance, and particularly the high ISO performance, of the D3s. Before this trip I was in general agreement with most others (e.g., Thom Hogan, dxomark.com, etc.) that the D3s was about a stop better in both ISO performance and dynamic range than the previous champ, the D3. What I expected this would mean for me was that instead of limiting my shooting to ISO 800 with occasional jumps up to ISO 1600 (which is more or less how I used my D3 for "quality" work) I would be able to regularly go up to ISO 1600 (as needed) and occasionally to ISO 3200 in "emergency" situations. Yeah, right. Because I already have thousands of bear images in my collection I decided to throw caution to the wind and let the ISO rip (and let it "float", via Auto ISO, up to ISO 8000 and even higher). The result? Absolutely jaw-dropping. I have many shots from the trip at ISO 5000 that show virtually no noise (and needed no noise reduction after raw conversion) and are tonally rich. And, I have shots at ISO 8000 (some of which required very minor noise reduction after raw conversion) that I would offer up for any use (including limited edition prints, gallery exhibit, rights-managed stock, etc.). And I even captured shots at ISO 12,800 that are presentable with no noise reduction. Don't believe me? Check out the current images in my Gallery of Latest Additions - at the time of this writing it contains shots from ISO 720 through to ISO 12,800 (but be forewarned that new images will be replacing these by June 20 or so...). I feel a full blown field report entitled "The Nikon D3s and the Nature Photographer" coming on - stay tuned for this...
2. AFS-Nikkor 400 mm f/2.8 VR G. That's a mouthful, so hereafter referred to as my "400mm VR"! Anyway, I shot this lens enough before my trip to know it was tack sharp, had wonderful colour and contrast, exhibited beautiful bokeh, and worked well with both the 1.4x TC-14EII and the new(ish) 2x TC-20EIII teleconverter. On this trip I took the bold move of setting aside my trusty 200-400mm f4 VR zoom (which is probably the single best Nikon lens for general use in the Khutzeymateen) and shoot with my 400 VR (native and with TC's) almost exclusively. Yes, because I was stuck with a prime I DID miss some shots. BUT, by the end of the trip I was convinced that not only that my earlier findings were spot on, but also that this lens is in a category of excellence only occupied by one other Nikon super-telephoto - the venerable 200mm f2 VR. Like before, check out my Gallery of Latest Additions to see what I mean. And, in the case of "best examples of lens brilliance" (that's LENS brilliance, nothing to do with ME!)...there's better images to demonstrate what I mean coming next week. And a full field report on this lens will be coming within the next few months as well...
3. Think Tank's Belt and Shoulder Harness System. The "traditional" way of working in the Khutzeymateen and the Great Bear Rainforest (where much of your shooting is done from a Zodiac) is to have one camera with telephoto lens - often often protected by a rain cover - in your hands, and have all your other gear (alternate lenses, back-up body, etc.) in a medium to large weather-resistant backpack style camera bag that sits in the bottom of the boat. Over the years I have noticed that I, and everyone else on the trip, just leaves those bags sitting in the boat and they almost never get opened, especially if it's raining out (it's called a RAINforest for a reason). So...I decided to WEAR a lot more of my gear and have it instantly accessible. A few months before the trip I invested in a belt system from Think Tank Photo - specifically a "Steroid Speed Belt" complete with a weight-distributing shoulder harness called a "Pixel Racing Harness" and various lens cases and holsters that clipped on to (and, most importantly, slide around on) the belt system. So, I went into the Zodiac with my D3s plus 400mm VR in my hands (covered with AquaTech raincover) and had my D700 with 70-200mm VRII in a holster on my belt, plus various other lens and TC's on that same belt. How did the system work? Awesome! While I may have looked a little geeky (or like a SWAT squad commando), I always had nearly instant access to what I needed. I can now say that for this type of photo shoot I highly recommend this system from Think Tank Photo. If you're interested in this system check with your local pro camera retailer (always a good idea to support them!) or, if you're like me and don't have easy access to a retailer, Outdoor Photo Gear offers additional information about the Steroid Speed Belt System (and, of course, you can purchase the product from them). Go directly to info on the belt systems via this link...
And, finally, I've been spending a lot of time using Photoshop CS5 in the past two weeks - that promised "CS5 first impressions" coming next week...
10 June 2010: New Image Viewer Implemented
I've just introduced a new image viewing technology to this website that allows me to post larger versions of my images. At first glance nothing appears different on any of my Gallery pages, although some of you may have already begun noticing a magnifying glass icon on a few feature images. Whenever you see this icon on an image it means that clicking on that image will spawn a new, larger window (within your web browser) that is populated by a much bigger version of the image. For now I've capped vertical images at 900 pixels high and horizontal images at 1200 pixels wide, which may mean that you have to open your browser a little more to accommodate the image (or, occasionally, scroll to see the entire image). If you're viewing this website on an iPhone or other smart phone, I'd kinda recommend NOT opening the new image viewer ;-)
At this point all new images going into my Gallery of Latest Additions will be made to work with the new image viewer and I'm currently adding the functionality to selected images through my other galleries (some images in my Bear Gallery have already had the viewer added, with more coming every few days).
Enjoy!
Feedback to: feedback@naturalart.ca
10 June 2010: Back to the Real(?) World...
I survived my spring pilgrimmage to the Khutzeymateen Grizzly Sanctuary and have returned to the "real" world! The trip was a resounding success and although we had fewer bears than normal to work with, they were very cooperative. Because I already have thousands of bear images, I decided to do things a little differently while shooting this year, even if it had the chance of costing me some quality shots.
First, I decided it was time to really push my newish D3s more than I normally would, especially in terms of checking out its ISO performance. I very much like how Nikon has implemented the Auto ISO function on the D3's and use it commonly. This function lets you specify the maximum ISO the camera will climb to while trying to satisfy reaching the longest acceptable shutter speed you specify. If you own a D700 or any of the D3's and haven't tried this function - you should. It's very liberating. Anyway...I normally "cap" the ISO at about 1600 (or did on my D3). This year with my D3s I just decided to let the ISO rip? The results? AMAZING. I captured shots in the ISO 5000 to 12,800 range that are absolutely great (technically). See for yourself - wander into my Gallery of Latest Additions and have a look (in particular, check out the image entitled "ISO WHAT??" - shot at ISO 12,800 and with NO noise reduction applied after raw conversion). Simply put, the D3s is absolutely amazing and a HUGE step up from the D3 (more than I had previously realized).
Second, I decided to set aside my 200-400mm f4 VR zoom (which is probably the single best lens to use for general shooting in the Khutzeymateen) and force myself to shoot prime lenses. I mostly stuck with my 400mm f2.8 VR - both shot "native" and with the 1.4x TC and the new TC-20EIII 2x TC. You know, easy to shoot stuff: 800mm focal length equivalents (at times) shot hand-held in low light...so at ISO 5000 and more - stuff impossible to think of even one or two years ago. A recipe for disasterous results? Well, that's what I thought, until this trip. Keep your eye on that Gallery of Latest Additions over the coming weeks to see what I mean. And...in anticipation of a lot of email asking me this: what do I think NOW about that 400mm f2.8 VR after shooting it so much? Well, it IS darned heavy (thank god I do so much wood-chopping!), but "wow" is that one hot lens! A more thorough set of comments about this lens coming soon...
Did I miss many critical shots because of putting my 200-400 away and sticking with the long prime? Probably. But, I ended up capturing some images that I would have missed otherwise. I just think of it as acceptance of the most general and inviolable rule of wildlife photography: the best lens for the shot is ALWAYS guaranteed to be the one NOT on your camera!
Back to regular updates to this blog and the website in general - stay tuned!
Cheers...
25 May 2010: Off to the Khutzeymateen. Yippee!
In under 24 hours I'll be departing on my annual spring pilgrimmage to the Khutzeymateen Grizzly Sanctuary on the far northern coast of British Columbia. I'll be leading my Grizzlies of the Khutzeymateen Photo Tour, which is ALWAYS an amazing experience. I've pretty much cleared my plate of a lot of little time-consuming tasks I've been occupied with, so when I return expect a lot of web updates - new, fresh images, a new image viewing technology integrated into this site to enable me to present larger images, and lots of interesting bits in this blog (including that elusive piece on my first impressions of Photoshop CS5).
Speaking of my Grizzlies of the Khutzyemateen Photo Tour - 9 of the 12 available spots for my 2011 Khutzeymateen tours are already gone, so if you're interested in going you should contact me soon! For more details on this tour, or any of my other photo tours, just check out my Photo Tours page.
Cheers...may Photeus smile upon all of you! Back in early June...
Feedback to: feedback@naturalart.ca
18 May 2010: About Nikon's new 200-400mm f/4 VRII Lens...
I'm getting quite a bit of email asking me about Nikon's new 200-400mm f/4 VRII lens. The questions I'm getting most frequently are:
1. Am I planning on getting one?
2. What do I think of it?
3. Do I recommend it?
My answers (and I really hope Google Translate does a good job on this - I really don't want to get flamed by hundreds of foreign-language followers of this blog!):
Am I planning on getting one? No, not unless Nikon decides to give me one (and based on how many TC-20EIII teleconverters I sold for them, they should!). Why? My understanding is that the new version of this lens is virtually identical to the old one, except that it adds the VRII technology. So, it's really more of what I would consider a "running change" to an existing lens as opposed to a "new" lens. I have a few lenses with VRII and it IS good and likely meets Nikon's claim of one additional stop of vibration reduction (4 stops as opposed to 3). But as a happy owner of the previous version, the difference in price between what I could sell my "old" 200-400 for and what I would have to fork out for the new one doesn't make good economic sense to me. I think the 200-400 is a fantastic lens, but it has two weaknesses: it doesn't perform well with teleconverters (compared to Nikon's pro primes or the 70-200mm f/2.8 VRII) and it tends to be on the soft side (sharpness- and resolution-wise) when shooting distant subjects at 400mm (see my 4 Ways to 400mm tests for more about this). If Nikon had addressed these two issues when they designed the "new" 200-400mm I would likely have decided to buy one. But they didn't. So, for now, I won't be getting one.
What do I think of it? I can't say for sure (given I haven't used it). I assume it's as good as the 200-400mm VRI, but even a little easier to use hand-held because of the VRII technology. So, it's probably a great lens!
Do I recommend it? For existing 200-400mm f4 VRI owners I'll say just this: I'm not getting one (see two paragraphs above for why). For those who don't already own the "old" version? Absolutely! The 200-400mm f4 VRI was one of Nikon's best selling "pro" lenses and was a tremendously versatile lens. The new one should be even better. I wouldn't want to be without one (the old OR the new version!).
That's it. Photoshop CS5 first impressions real soon...
Feedback to: feedback@naturalart.ca
18 May 2010: New Photo Tour Page...
Based on the increasing popularity of my photo tours, I've finally got around to dedicating a page on this website to them. At present all my 2010 Photo Tours are sold out, but there are some spaces left on my 2011 photo tours. If you're interested in my popular "Grizzlies of the Khutzeymateen" Photo Tours in 2011, you better shake a leg and contact me - 9 of 12 spots are already gone! Where to go for more information? To my new Photo Tour page, of course! ;-)
Up until now my photo tours have been focused on subject matter and shooting locations on the beautiful central and northern coast of British Columbia, including Grizzly Bears, Spirit Bears, Orcas, Humpbacks and more. I am currrently in discussion with a few additional wildlife guides/outfitters regarding some potential new tour destinations and it is possible that one or two new tours will show up on the 2011 schedule in coming months. Stay tuned!
Feedback to: feedback@naturalart.ca
06 May 2010: Photoshop CS5 Arrives - First Impressions Soon...
The latest version of the king of image-editors - Photoshop CS5 (or Photoshop 12 by the old naming scheme) - has started to trickle into the hands of end-users. Mine arrived late yesterday. Over the next 4 or 5 days I'll be putting it - and Bridge CS5 - through their paces. And then I'll post a short, no-nonsense discussion that answers two questions:
1. Is the upgrade really worth the money for the average nature photographer?
2. Will the new software significantly improve the appearance of the images of the average nature photographer?
Stay tuned. And expect a few interesting blog updates in the interim...
Feedback to: feedback@naturalart.ca
04 May 2010: Those "New" Micro 4/3 "Super" Point & Shoots - Are They Worthy?
Like many other professional or serious enthusiasts who use dSLR's I love the idea of having a compact, lightweight digital camera that's small enough to take virtually anywhere AND that produces of high enough quality to actually use. About 8 months ago I jumped on the Micro 4/3 format bandwagon and bought an Olympus E-P1 in the hope that I may have found my Holy Grail.
Since then I've been religiously carrying my little E-P1 with me but, to be honest, haven't run into too many wonderful "hey, I didn't expect to see that!" spontaneous scenes where I could really put the camera to its intended use. Until last Thursday when I just happened to stumble upon a wild cougar while walking my dogs. Ahhh...the perfect test!
So how did the little Olympus work out? Well, check it out yourself - see the cougar image and read the commentary about how the camera fared right here in my Gallery of Latest Additions (click on the "In the Field" tab to read the commentary).
NOTE: The images in this section rotate regularly - if the correct image doesn't come up right away, just look for the thumbnail of the cougar's head below the main image to find it...
Feedback to: feedback@naturalart.ca
27 April 2010: Aquatic Mammal Photography: Orcas, Humpbacks & LOTS More!
Just over a week ago I posted a dramatic backlit Orca shot on the Nature's Photographer's Network (see image on NPN here). Late yesterday I found another unprocessed, raw image of an Orca in my archives and processed it and posted it on NPN and here on this website. Since posting these images I've had a lot of queries about where the images were shot, how to get there, who to go with to photograph the Orcas (outfitter and guide-wise), etc. So here's some info for those of you interested in going on a tour to photograph Orcas, Humpbacks and More (more, in this case, means seals, seal lions, porpoises, dolphins, and even sea otters):
1. My 2010 Orca Tour: Sorry, my Orca Explorer tour (which runs from August 22 to 29) for 2010 is totally sold out. BUT - if you're looking for a great Orca trip in the summer of 2010...
2. 2010 Orca Explorer tour with Ocean Light II Adventures: I work with Ocean Light II Adventures for many of my Photo Tours, and there is a 7-day Orca Explorer tour that still has room available just before my trip. The 7-day trip runs from August 15-22 and leaves from near the northern tip of Vancouver Island. During the trip you use the beautiful 71-foot Ocean Light II sailboat as base-camp and tour the amazing Johnstone Strait - a nutrient-rich body of water teeming with wildlife. At $2500 (including all meals and accommodation once on-board the Ocean Light II) the trip is VERY reasonably priced and offers incomparable photo opportunities. For more information, just download this brochure from their website (PDF: 434 KB). Or, just email Jenn for more details (or to book your trip).
3. My 2011 "Orcas, Humpbacks, and More: Aquatic Mammals of the Central Pacific Coast" Instructional Photo Tour still has room available on it. Details available here on my Seminars and Workshops page...
Feel free to contact me with any questions.
14 April 2010: Field Test Posted: 4 Ways to 400mm
I just posted my "4 Ways to 400mm" Field Test in my new(ish) Field Test section of this website. This test compares 4 different ways (lenses or lens/tele-converter combinations) to get to that critical focal length for many wildlife photographers - 400mm. Here's a somewhat baffling three sentence summary: The 400mm f/2.8 VR placed first. The new 70-200mm f/2.8 VRIII plus new 2x TC-20EIII teleconverter placed fourth. Most shooters should buy the 70-200mm f/2.8 VRIII plus new 2x TC-20EIII teleconverter combination. Huh? Read the executive summary for a hint...
The Executive Summary:
All those who have forked out a small fortune to purchase the 400mm f/2.8 VR lens can rest easy - this lens out-performed all others tested in image sharpness, resolution, and contrast at all distances tested. But, my second choice of what lens I'm going to grab out of my bag varied with the subject-to-camera distance. At long distances (starting at around 500 meters or more) the 200 f/2 VR paired with the new TC-20EIII placed a solid second. The 200-400 f/4 VR and the 70-200mm f/2.8 VRII with 2c TC-20EIII performed very similarly but I give the slight edge to the 200-400 (but only by a hair). At moderate distances (45 meters) the 200-400mm f/4 VR faired better and edged into second spot for me, with the 200 f/2 VR just behind in third. I rate the 70-200mm f/2.8 VRII paired with the TC-20EIII combination as coming in 4th at moderate distances. At short distances (5 meters) all combinations of lens or lens/TC combos performed well and they would come out of my camera bag in the following order: 400mm f/2.8 VR; 200-400mm f/F VR; 200 f/2 VR with TC-20EIII and 70-200 f/2.8 VRII with TC-20EIII.
In summary, the most expensive lens in this test performed the best at all distances. And, the results of most of the tests vary almost directly with the retail purchase price of the lenses - in general, if you paid more you DO get more performance! BUT, at the distances these lenses (or lens/TC combos) will be most commonly used at, the differences in real world performance are really quite small. Users who need absolutely the best performance (or push their equipment to the limits, such a shooting in very low light) may be able to justify the expense of getting to 400mm with a 400mm f/2.8 VR. But an awful lot of people are going to be capable of producing some pretty impressive 400mm results using a FAR cheaper solution, such as the 70-200mm f/2.8 VRII plus the TC-20EIII!
Read the full field test here: 4 Ways to 400mm.
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12 April 2010: Photoshop CS5 Announced and...4 Ways to 400mm Update...
As expected, Adobe announced their new CS5 (by the way, CS = Creative Suite) products today, including Photoshop CS5. While Adobe themselves list only 4 of the 10 new features as "Powerful Photography Tools", in reality several more of the new (and several of the 10 "enhanced" features) will be very useful to photographers. Some examples of these "other" features that photographers who are reasonably comfortable with Photoshop will appreciate include improved HDR Imaging, enhanced B&W conversion tools, and better integration with Photoshop Lightroom. But, as a Mac user, the feature I'm most excited about is the bump in speed in working with large files owing to the new 64-bit support for the Macintosh (this is because the program can now utilize additional RAM more effectively). I would purchase the upgrade for the 64-bit support alone. The best place I've found to see a list of new features is the version comparison on Adobe's own website - which can be found right here. A very good account of the new features of Photoshop CS5 that will be valuable to photographers can be found right here on Rob Galbraith's website.
And, as with all new products, there IS something in the Photoshop CS5 introduction for some users to be unhappy about - Adobe Photoshop CS5 for Macintosh is available for Intel-based machines ONLY. So anyone using PowerPC chips (like G5 users) can't use this upgrade. Sad for some, but we all knew it was just a matter of time before this happened...
One other HUGE feature of Photoshop that I use daily (and assume has been upgraded/tweaked) is Bridge, which has become an increasingly efficient and better media asset management tool each time they upgrade the CS suite. So far I haven't been able to find any information about Bridge improvements, but I'm sure they'll be there (and will post information about the improvements as when I discover them).
And...4 Ways to 400mm Update: I'm getting a lot of email asking when I'm going to post the full version of this field test (for details about this feature just scroll down to the March 31 entry below). Coming soon - hopefully today or early tomorrow. Stay tuned!
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31 March 2010: Sneak Preview: 4 Ways to 400mm
In early March I described my reasons for selling my Nikon 300mm f2.8 VR prime lens and acquiring a 400mm f2.8 VR (see March 2 entry entitled "A Strategic Re-deployment of Lens Assets") - basically I felt I had too much investment in the 200mm to 300mm focal range and not enough in the 400mm to 600mm range (which generates more revenue for me). Now, between my purchase of the 400mm f2.8 AND Nikon's release (and my acquisition) of the much improved 2x teleconverter (the TC-20EIII), I now have 4 ways to get to 400mm. So, I can choose from: 400mm f2.8 VR, 200-400mm f4 VR, 200mm f2 VR with 2x TC-20EIII teleconverter, or the 70-200mm f2.8 VRII with 2x TC-20EIII. Which raises the issue of how they compare optically AND in practical terms that may influence their use in the field (weight, convenience to carry, "hand-holdabilty", etc.). So...I decided it was time to sit dowm and do some systematic testing. And, as always, the goal of the testing was to help me decide what lens I should take into the field in any given field situation. Others may find this information useful in deciding how they can get to 400mm in a way that suits them, their budget, and their shooting style, best.
I'll report my detailed results in an entry in my field test section on this website within a week, but here's a sneak peak of what I found optically:
1. At LONG distances - focused approximately 1 km away (so distant scenes, long distance animalscapes, etc.): No competition in this test - at all apertures the 400mm f2.8 VR was sharper, out-resolved, and had better contrast than any of the other 3 lens or lens/TC combinations. The remaining 3 places? The results are a little more complicated and vary a little with aperture. But, in almost all instances (EXCEPT when shot wide open), the 200mm f2 VR with the new 2x TC placed second, followed by the 200-400mm f4 VR, and the the 70-200mm f2.8 VRII paired with the new 2x TC came in a not-so-distant fourth.
2. At SHORT distances - focused approximately 4 meters from subject (think shooting small mammals like squirrels, large perching birds like jays, etc.): Again, no competition for first - the 400mm f2.8 VR was the winner again. But the margin of victory was signficantly smaller. Second place? Except when shot wide open it's almost a dead heat between the 200-400mm f4 VR and the 200mm f2 VR plus 2x TC, but I give the edge to the 200-400. And the 70-200mm f2.8 VRII plus 2x TC is nipping at their heels.
3. At those critical MODERATE distances - focused approximately 40 meters from subject (where MUCH of wildlife photography is done): Sorry...more testing is needed - but the results are coming real soon...
Far more detail, including more about the testing regime, camera used, and real-world concerns beyond just the optical results, etc., coming in the first week of April in my field test section - stay tuned!
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25 March 2010: Field Test Update: Nikon's New 2x Teleconverter and the 400mm f2.8 VR
Nope, I haven'g been taking time off - just rushing to test some new gear as my "serious" field season creeps closer. Today's update: how Nikon's new TC-20EIII 2x TC performs when paired with the wonderful 400mm f2.8 VR. The verdict: very well indeed! Check out the full results right here...
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16 March 2010: Nikon D3s and 400mm f2.8 VR Field Tests Coming Soon...
I've recently received a few emails asking me where the heck I've been (and, more importantly, why my blog went for 12 days without an update). Sorry, but I recently took delivery of both a D3s and the 400mm f2.8 VR lens and I'm spending every spare moment testing these new fine photographic instruments (no, they're NOT new toys!). The goal of the testing is, as always, to determine exactly what these tools will do for me in the field. But I won't be totally selfish and keep the information to myself - expect full field tests on both of these products on this website before the end of the month.
I also know if I don't mention a bit about what I've found to date I'll get email asking me, so here's my VERY first impressions (after only about 500 shots with the D3s and 400mm f2.8 VR combination):
Nikon D3s: Exactly as advertised - a good stop better in high ISO performance than the original D3 (which was already the best in the business); the larger buffer is GREAT for long sequences of shots at 9 fps; the Quiet Shutter mode is a very welcome addition; the built-in sensor cleaner WAS overdue but is a great addition. Overall - an unusually strong "s" upgrade and a great, lightening quick camera. Big and heavy? Yes.
Nikon 400mm f2.8 VR: Simply an outstanding piece of glass! Sharp as a tack but with exceptionally smooth and buttery bokeh (great out-of-focus zones). Blazingly fast AF performance. Excellent performance with the TC-14EII teleconverter (including with no distinguishable diminishment of AF performance). Too early to say much about the performance when combined with the new 2x teleconverter (TC-20EIII), but initial results seem very encouraging. Big and heavy? Yes.
More details coming soon...stay tuned!
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3 March 2010: Up for Grabs (For Sale): 300mm f2.8 VR AND 200mm f2.0 VR Telephoto Lenses
04 March 2010 UPDATE: The 300mm f2.8 VR has been sold and is no longer available. Antonio (from Italy) is now one happy guy!
I've put both my 300mm f2.8 VR and my 200mm f2.0 VR lenses up for sale. Why? Simply because they suit my shooting style and preferred subject matter less than a new lens I just ordered (the 400mm f2.8 VR). For a more detailed explanation just scroll down (below) to the March 2 entry entitled "A Strategic Re-deployment of Lens Assets..."
For all the details (pricing, extras, etc.) just go to my Gear For Sale page! If past history is any indication, my used gear sells VERY fast, so if you're interested it would be best to contact me pronto!
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2 March 2010: First 2011 Photo Tour Sells Out...
My "Grizzlies of the Khutzeymateen - Just the Photo Op, Please!" Photo Tour for 2011 sold out today. This is the first of my 2011 photo tours to sell out. But, on the positive side, there's still room remaining on my other 2011 Khutzeymateen grizzly photography trip (spring 2011), the "Orcas, Humpbacks and More: Aquatic Mammals of the Central Pacific Coast" trip (summer 2011), and my two "Spirit Bears and the Great Bear Rainforest" trips in the autumn of 2011!
For more information about these once-in-a-lifetime trips, just check out my Seminars & Workshops page!
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2 March 2010: A Strategic Re-deployment of Lens Assets...
For anyone, keeping up with the "optimal" gear set-up for their particular style of shooting and their subject matter of choice/necessity is challenging. Even if one limits the discussion to just lenses, there are a myriad of ever-changing variables to consider, including the camera bodies one owns (full frame vs. cropped sensor and the impact on effective magnification), shifts in preferred subject matter one shoots, and, of course, advances in technology (e.g., new VR/IS lenses that now become "hand-holdable", new - and now usable - teleconverter releases, etc.).
I tend to think strategically (my science training kicking in, I suppose) and late last week I was discussing the merits of various Nikon super-telephotos with a good friend from Europe. The discussion got me to thinking about my own lens collection and whether or not it was "optimal" for me right now. So...I used the wonders of metadata filtering (in Adobe Bridge) to evaluate my image collection in an effort to find out what lenses I used most (and least) over the last 3 years. And then I looked at what lenses (and focal length ranges) produced the most income for me. Finally, I ended up looking at my total dollar investment in various focal ranges. The results were quite illuminating to me and resulted in a decision to go through a "strategic re-deployment of lens assets". Here's what I found and what I'm doing:
1. What I found: Even though I absolute love the quality (and images) that CAN come out of my Nikon 200mm f2 VR and my Nikon 300mm f2.8 VR, the reality is that I hardly ever use them. I used these lenses for under 5% of the images I have shot in the last 3 years (a period where I became more of a "pure" wildlife shooter as opposed to a "general nature photographer"). And photographs shot in the 200 to 300mm focal range accounted for only about 5 to 10% of the income I generated directly from image sales during this same time period. And the investment? If you look at the retail cost of my lenses that overlap the 200 to 300mm range they add up to about $21,000 (Canadian). Hmmmm...
What about longer lenses? Well, if you look just at images shot over the last 3 years, fully 90% of my images were shot with lenses in the 400 to 600mm focal length range (this DOES include shots with DX bodies that produced shots with an effective focal length of 400 to 600mm). And, the income from the images follows the same pattern - 90% of my image sales income has come from the 400 to 600mm focal length range. My total investment in lenses in this longer focal length range? Despite the huge cost of the super-telephotos, I have slightly under $15,000 (Canadian) invested in this focal length range. Hmmmm...
2. What I'm doing? Well, as the title of this entry suggests, I'm moving some lenses OUT, and adding one lens IN. More specifically, I've decided to sell both my coveted 200mm f2 VR AND my 300mm f2.8 VR and add another super-telephoto to my collection of lenses - the 400mm f2.8 VRII. My choice of the 400mm f2.8 VRII (rather than the 500mm f4 VRII) is based on a LOT of variables that I'll discuss in a future entry, but include my penchant for photographing bears in the low-light world of the Great Bear Rainforest (and the need to hand-hold lenses and shoot from a moving Zodiac in this area) and the recent release of the much-improved 2x TC-20EIII teleconverter (and how much better the autofocus works with this TC works on an f2.8 lens compared to an f4 lens).
So...expect to see both my 200mm f2 VR and my 300mm f2.8 VR showing up soon on my Gear For Sale page! And, expect to hear my thoughts on the performance of the 400 f2.8 VR (with and without teleconverters) shortly after March 12, the day I pick up both my D3s with its 400mm f2.8 VRII "kit" lens. And I thought "kit lenses" were supposed to be cheap!
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23 February 2010: Help Sustain Momentum to End Trophy Bear Hunt in BC!
If a growing list of local, national, and international sponsors supporting a movement is any indication of the credibility and strength of a drive, then there's a dramatic increase the momentum behind the campaign to put an end to the trophy bear hunt in BC. Which sponsors am I referring to? Just have a look at this full-page ad (PDF: 1.7 MB) that appeared in today's Vancouver Sun and scan the sponsor list!
But, an even more important aspect of this battle to end the trophy bear hunt is local, national, and international public feedback directly to the politicians of BC. So, if YOU want to help end this senseless (and non-justified - biologically or economically) slaughter, please email or phone one of the two following key BC politicians and let them know how YOU feel about the hunt:
Premier Of British Columbia
Hon. Gorden Campbell
Email: premier@gov.bc.ca
Phone: 250-387-1715
Minister of Environment
Hon. Barry Penner
Email: barry.penner.bc.ca
Phone: 250-387-1187
Want more background information before voicing your concerns? Start educating yourself on the currrent campaign and the facts regarding the trophy bear hunt right here on Pacific Wild's website.
Thank you.
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22 February 2010: Field Test: Nikon's New 2x Teleconverter - the TC-20EIII
Before the release of the D3 I used to envy Canon users for their cameras' better high ISO performance and better autofocus systems. Then came the D3 and camera body envy ended. BUT, I still had one wish: that Nikon could produce teleconverters as good (or better) than Canon's. Well, the good news has come - Nikon's first "Series III" teleconverter, the 2x TC-20EIII really performs. I've completed field testing the TC-20EIII and writing up my results - the full Field Test can be found here (in my brand new "Field Tests" section). But here's the executive summary and one "teaser" image (many more are in the field test):
The Executive Summary:
My copy of the "new" 2x teleconverter from Nikon (the TC-20EIII) represents a dramatic improvement over its "Series II" predecessor (the TC-20EII). This means that the output using the two TC's went from virtually unacceptable (with the TC-20EII) to completely acceptable (with the TC-20EIII) for virtually any use. With all lenses tested with the new TC images were visually slightly less sharp when shot wide open (at maximum aperture size) compared to when stopped down by a single f-stop. In most cases, and with most lenses tested, stopping the aperture down further resulted in only very, very minor increases in sharpness. Both image contrast and colour saturation shot with images using the TC-20EIII showed only marginal reductions compared to when NOT using the teleconverter (while the previous model of reduced image contrast and saturation quite dramatically). I experienced the best image quality, and highest overall "usability" of the lens/TC combinations when pairing the TC-20EIII with "f2.x" lenses (the 70-200mm f2.8 VRII, the 200mm f2 VR, and the 300mm f2.8 VR). However, I was able to produce very acceptable results when using the new TC with selected f4 lenses (the 200-400mm f4 VR and 600mm f4 VR). Autofocus speed (including initial focus acquisition and focus-tracking on moving subjects) was only slightly impaired on the f2.x lenses. Despite Nikon's claim that autofocus does NOT work with f4 lenses, I found that autofocus did work (albeit in a reduced capacity) on both f4 lenses tested (but was accurate and efficient only using the more central of the D700's 51-focus brackets, i.e., autofocus with extreme outer focus brackets was completely inefficient or failed outright).
In summary - and to be brutally honest - I found the best use of the "old" TC-20EII was as a paperweight. In stark contrast, the new TC-20EIII is a useful photographic tool that has earned a permanent space in my gear bag.
Seeing is believing - right? Check out this Bighorn Ewe portrait - shot with the TC-20EIII paired up with the 600mm f4 VR (WARNING - reasonably large image download - 1800 px x 1200 px - 0.7 MB).
My full Field Test, incuding about a dozen more images, can be found right here...
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22 February 2010: New Field Test Section Added to Website
What do YOU do at 5 AM on a Monday morning? Normally I sleep, but today I got up early and added a whole new section to my website (it's gonna be a brutal week and I HAD to get ahead of the game). This section is starting small, but over time will become a very useful resource to Nikon-using nature photographers. And, I'm thinking it's going to be very popular.
Check it out - products included today include my field tests of the Nikkor 70-200mm f2.8 VRII and the new TC-20EIII 2x teleconverter. It begins here. Enjoy.
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17 February 2010: Decision Made...Nikon D3s Coming My Way
A few weeks back I sold my top workhorse camera - my D3. I did so reluctantly in order to free up some physical space in my backpack to carry (and to free up some budget space to pay for) a NEW Nikon DSLR. When selling it I wasn't sure what I was going to buy - my thinking was that it was most likely going to be the rumoured D900 (possibly to be announced in March) or, if the spec of the D900 wasn't right for me, I'd "settle" for a D3s. Well, today I decided the D3s was the right camera for me and I'm darned excited about starting to shoot with it. Why? Read on...
When the D3s was first announced I first thought it was another ho-hum "s" release. In other words, simply a D3 with a few minor tweaks and not worth the difference in price between what I could sell my D3 for and the cost of the new camera. But I soon started reading accounts of this new "wonder camera" that took "shooting in the dark to a whole new level" and that the camera had an all new image sensor (I hadn't expected this!). And, the superlatives just kept rolling in...including from folks I know and trust. The bottom line of most anecdotal reports was this: in real world use the D3s was one to one and a half stops better than the reigning low-light performance king (the D3). Hmmmm...my interest was piqued, and I began to think more about the D3s...
A bit of background is important here - why is low-light performance so important to THIS wildlife photographer? Well, I'm more-or-less a "true" field shooter - except when testing cameras or camera bits (like teleconverters), I shoot WILD wildlife out in the WILD, not in game farms or zoos. And, because I do a lot of shooting of free-ranging bears in the often-overcast, often-raining Great Bear Rainforest on BC's central coast, I often end up shooting long lenses in low light conditions. To make matters worse, I commonly have to use make-shift (and less-than-optimal) ways to support my camera and lenses - think pontoons on zodiacs, foam pads on rocks, or even completely hand-held shots with long lenses. To do this, I NEED a camera that (pardon the marketing pun) "Defies the Limitations" of most cameras.
Back to the D3s. When I look at my images critically, even with the D3 I am rarely limited in my shooting by image noise. More commonly, the dynamic range of the image sensor (think of it as the brightness range the sensor can record on a single frame) limits me as I crank the ISO up (dynamic range decreases as ISO climbs). Imagine photographing a moving white Spirit Bear in deep shadows in overcast light (like this shot) - dynamic range issues creep in long before noise issues - darned hard to keep BOTH highlight and shadow detail AND freeze the action with almost ANY camera available today.
So...for me the important question with the D3s became this: At high ISO's (for me this translates to ISO 1600 to about ISO 4000) does the D3s have appreciably better dynamic range than the D3? So I started asking folks I knew. About half of them looked at me like I was from another planet (a distinct possibility) and the other half gave me encouraging "yep, better DR" comments. But no one was able to tell me how much better. Encouraging, but not enough for me to commit my money. At that point I knew I would have to wait for a few key reviews of the camera...
February 16 - dpreview.com's 34 page review of the D3 is out! Yes! But somehow they find a way to write 34 pages about the camera and NOT explicitly discuss the relationship between ISO and dynamic range of raw files. Amazing...
February 17 - dxomark.com publishes their concise review of the D3s image sensor in capturing raw image data. Perfect! And, they provide me with the perfect comparison - a single graph comparing the ISO vs. Dynamic Range for both the D3 and D3s! Yippee! The result - between ISO 1600 and 3200 the D3s has one additional stop of dynamic range (than the D3) and as you go to even higher ISO's the difference between the dynamic range of the cameras climbs even more (go here and scroll down the page to see the last graph on the page). Done deal...camera sold!
Postscript: The increase in high ISO performance of the D3s (in both image noise and dynamic range) is not the ONLY reason I decided to purchase this camera. There are a number of other new features that contributed to my decision, including the addition of a sensor cleaner (FX sensors ARE dust magnets), the return of a "Quiet" shutter mode (this can be huge when photographing wildlife at close range), and a larger/faster buffer that allows longer continuous bursts of shooting (for those critical action sequences). And, of course, the extreme durability of the "single digit D" bodies (compared to even the D700 and coming D900) made a difference to me. Would Iike to have a little more resolution? Of course. But not at the expense of the low-light performance (which, sadly, is reality). Now I just hope I don't HAVE to buy a D900 too! ;-)
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Feedback from:
17 Feb 2010: Bob G says: "Hey Brad...I just read your blog on the D3s but you forgot one thing. Now we can shoot HIGH DEF VIDEO. Are you thrilled?"
18 Feb 2010: My response: Hey Bob...probably about as thrilled as you are! Which is why I didn't include it on my list of reasons of why I decided to buy the camera!
14 February 2010: More Early Impressions: Nikon's New 2x Teleconverter
I'm getting a LOT of email asking me for more details about what I'm discovering about the new Nikon TC-20EIII 2x teleconverter so...here's a quick update on what I've found to date...
I've largely finished my "walking around" testing (i.e., using the TC with various lenses that I'd be likely to carry around with me and use for grab shots). My field testing of new products is ALWAYS done so that I can figure out as quickly as possible exactly what the new gear will do for me (given my array of lenses, my shooting style, my chosen subject matter, etc.). At this point I've shot about 750 grab shots (meaning hand-held and with little control over subject matter) with the following lenses (and on my D700): 70-200mm f2.8 VRII (new version of this lens); 300mm f2.8 VR (the "old" version of this lens); 200 mm f2 VR.
Here's what I'm comfortable saying now: With these lenses (and on a FX body) the new TC-20EIII dramatically out-performs its predecessor. For context - I found the old 2x TC (the TC-20EII) almost unusable for ME (in most shooting situations) while the new 2x TC is VERY usable for me (meaning I know I could produce gallery quality prints with it when combined with the lenses listed above). Sharpness, colour and contrast with the above lenses is a quantum leap above what I found with the old TC.
Feel free to download this image of my portie pup as a representative sample of the type of output I'm getting from the TC - it was shot with my 300 f2.8 VR and combined with the TC-20EIII. The image is virtually full frame but cut in resolution for online viewing (down to 1800 pixels high x 1200 pixels wide). Extremely light image sharpening only...some chromatic aberration is visible when viewed at 100% or larger (along the border of Poncho's hair and the blue sky behind) but I made no effort to control this during raw conversion (checking one ticky box would have fixed this!).
Over the next days I will be more systematically field testing the TC with these and other lenses (including the 200-400 f4 VR and the 600mm VR). I hope to have my results available online here later this week...
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10 February 2010: Nikon's New 2x Teleconverter - VERY First Impressions...
I took delivery of my spanking new 2x Teleconverter (the TC-20EIII) late this afternoon and had about an hour to begin playing with it. I didn't have time to do any systematic field-testing, so I decided to throw the TC in my pocket, grab my D700 (with the new 70-200 VR II mounted on it) and just do some casual shooting while walking my dogs in the woods. To sum up, I pretty much did everything WRONG (in terms of using good technique to squeeze quality images out of a TC) just see what would come of it (image wise). I had heavy overcast skies (think low light levels), hand-held every shot, shot wide open a lot, and used some quite high ISO settings. And, I put the TC on a ZOOM lens, which was something I avoided like the plague with ALL of the last generation TC's (the "II" series).
Long story short - I can already say this new TC-20EIII is dramatically better than its precursor. Despite my sloppy "grab-shot" technique I captured many surprisingly sharp images, even when shot wide open! I'm not comfortable saying much beyond this before doing some systematic field testing, but my first impressions of the TC-20EIII are very promising, to say the least.
Stay tuned for more info about the new TC-20EIII in coming days...
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8 February 2010: A Wolf Story...
Or...Super Bowl vs. Chasing Wolves? NO contest...
For those who don't know, I live in a relatively remote rural location in southeast BC (you have to travel over 100 km to the west of our cabin before you can find a real road). Add this to the fact that I work from my home and you end up with someone with limited contact with real human beings (I'm not a complete hermit - I DO have a phone and chat regularly with a few very good friends). Anyway, because of my relative isolation I often make an effort to keep up with pop culture via satellite TV - you know, watching the Academy Awards, the Junos, et cetera. Yesterday I faced a bit of decision - I could watch the Super Bowl (so I'd be able to talk with any American male I might run into) or I could do almost anything else. Like, for instance, going to look for - and photograph - a proverbial needle in a haystack. Which, in my neck of the woods, is how you would classify spending the day chasing wolves. Just like looking for that needle in the haystack! So...big decision: watch the Super Bowl or go chase wolves?? No brainer for me - a bad day in the woods (and coming back with NO photos) is still a better day for me than spending time in front of a TV...
So, come 7 on Sunday AM I hopped into my truck with my camera gear and headed off. To be honest, while I knew the area I was driving through had a few small wolf packs in it, I didn't really expect to find anything. And, sure enough, that's how my day started off. By about 9 AM I did pass through an area where I saw some suspicious tracks following along the farside of a river, but given the river was open (not frozen over) I couldn't get close enough to confirm they were wolf tracks. Nonetheless, over the next 10 km or so I watched the snowbanks on either side of the road for any indication that wolves had crossed the road. Nada.
It took me about a half hour to reach the distant end of my travels and turn around. When I got back to the same area where I saw the suspicious tracks I noticed a furrow pushed through the snowbank on the side of the road. I stopped and, sure enough, found wolf tracks crossing the road. Perfect! Wolves had passed by here sometime in the last hour! Cool.
I quickly threw my 600mm f4 lens and Nikon D700 in a backpack, lashed on a light tripod, grabbed my trekking poles, and started following the trail. Over the next 45 minutes I struggled up a nearly vertical ridge, crawled over deadfall, cut across the base of an avalanche slope (great!) and eventually felt like a complete idiot when the tracks went BACK to the road I was parked on - and only about 200 meters past where my car was parked. I felt like that dopey kid in the "Family Circus" cartoon.
I was sorely tempted to return to my truck and call it a day. Surely the wolves were long gone. But, against my better judgment, I pushed on. The tracks soon crossed an ice bridge on the river (in a spot I knew was quite shallow) so I followed them across. Then, the tracks started following the far edge of the river around a bend. Just as I turned the corner I looked up and less than 100 feet away two wolves were standing looking at me! I couldn't believe my eyes! One wolf was nearly "typical" in colour (light coloured with a grey saddle) although it carried some interesting chestnut highlights. The other was jet black with brilliantly yellow eyes. The light coloured wolf was slightly further from me than the black one and turned on its heals and disappeared into the woods.
But the black wolf acted very differently. It looked at me, took a few tentative steps across my path (still about 100 feet away), and then promptly laid down in the snow! I whipped my pack off and extracted my camera as fast as I could. I quickly decided to forgo the tripod and knelt down and began to shoot while hand-holding the massive 600mm "cannon". I figured after "cracking off" a few shots I'd have time to set up my tripod to "do things right". But only seconds later the wolf stood up again. I guessed it was about to run off. Wrong! Instead, it turned towards me and then started trotting directly at me! I couldn't believe my eyes. I couldn't figure out anything else to do, so I just kept shooting. In seconds it was approaching the close focus point of my lens (about 16') and still coming! What I didn't realize at the time (and didn't know until I checked my images later) was that the wolf was licking its lips the whole time it was approaching me. If I had noticed that I might have been slightly more concerned about what was going on!
Anyway, when the wolf was about 10 feet away (and still coming at me) it casually hopped off "our" trail and passed right by me, at a distance of under 10 feet! In a second or two it was past me and hopped right back on the trail and continued on its merry way. How to feel insignificant! It was as though the wolf considered me simply a minor inconvenience to go around, kind of like a log. And then the wolf was gone. In all, the encounter was maybe 45 seconds long...but WHAT a 45 seconds!
Did I get any usable shots? Oh, maybe one or two...one has already made it to my Gallery of Latest Additions - check it out here.
Take home lesson? Well, to be honest I think I did most everything right in preparing for the situation and capturing the images (interested readers should click on the "In the Field" tab on the image entitled "Black Wolf, White Snow"). I guess in hindsight I would have been better off with my 70-200mm f2.8 VR lens, but who whudda thunk that? Not me...
Well, summing up...it was only 45 seconds or so with the wolves. Compared to 3 or more full hours with the TV and Super Bowl. So I guess I was the big loser on this day. So why do I still have an ear-to-ear grin on my face?? You figure it out!
;-)
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1 February 2010: No New Nikon DSLR Until March?
There seems to be a growing feeling among many Nikon watchers (e.g., Thom Hogan of bythom.com) that we likely WON'T see an announcement about a new Nikon DSLR before or during the PMA tradeshow (which begins on February 21). There ARE a number of Nikon press conferences scheduled for February 3rd, but those in the know (which doesn't include me) feel we'll be hearing about new CoolPix models and some new lenses (reportedly a new 16-35mm f4 VR and a 24mm f1.4).
What about the DSLR(s)? The new rumor is that we'll now hear about them in mid- to late March. On the positive side, it seems that there's a growing consensus that we'll see a D900 then, which is likely to be a "D700-like" body with a sensor similar or identical to that being used in the D3x (24.5 MP). And, it will likely have full 1080 HD video capabilities (which almost all photographers that I regularly interact with don't give a damn about!).
For those who will be sitting on the edge of their seats waiting for the February 3rd announcement - traditionally dpreview.com releases the information in North America first, and it's normally on their website only seconds after midnight eastern standard time on the day before (so, in this case, late Tuesday night). I'm still hoping we'll hear about a new DSLR then, but in real terms waiting until a March announcement will matter little to me (as long as it's shipping shortly thereafter).
We'll know real soon...
Feedback to: feedback@naturalart.ca
24 January 2010: SIGN THE PETITION; SAVE THE GRIZZLIES!
Saving ANY endangered species is a challenging and at times daunting task. Saving endangered carnivores is even tougher - they wander over great distances and ignore wildlife "wildlife management unit" boundaries and even international borders, and they're often perceived to be in direct competition with humans for food or living space and are abused accordingly.
British Columbia, Canada is one of the Grizzly Bear's last remaining strongholds in North America. Yet there's strong reason to believe that even here grizzlies are in strong decline and may soon go the way of the Dodo bird if something isn't done, and done fast. Exacerbating the problem is the simple fact that NO ONE really has a good idea of how many bears are left in the province (or how fast they're declining). Ian McAllister of Pacific Wild (an excellent non-profit conservation organization) provides a succinct summary of the history of how the population estimates have been made and the factors confounding the results - interested readers should check out his summary here.
The factors that are ultimately driving down the grizzly population are numerous and complexly interwoven, but can be boiled down to three primary causes:
1. Habitat Loss: Grizzlies need a lot of space and, unlike their cousins the black bear, normally don't coexist well with humans. Stopping habitat loss and human encroachment is an immensely difficult task - it relates to human population growth, human economic growth, and flies in the face of many of the social values western society has come to accept without asking sufficient questions. Unfortunately, suggesting a single definable action that can be taken at the individual level to directly stop the human encroachment on the habitat of the grizzly is virtually impossible and a little beyond the scope of this mini review...so read on for some "actionable" items...
2. Reduction of Food Supply of the Grizzlies: Take away the food for any species and, if no alternate can be found, they die. Simple. You can't find a better example of this than on the coast of British Columbia where the majority of British Columbia's grizzlies reside: one of their most critical seasonal food supplies is salmon - and humans (sub-species canadensis) are finding a way to ensure that lack of political will and short-sightedness guarantees that the salmon are driven to extinction. Fortunately many hard-working folks are doing their utmost to help save the salmon stocks AND evaluate the impact of declining salmon populations on carnivore populations. The Raincoast Conservation Foundation is doing their best to document the salmon-carnivore interaction through their "Salmon Carnivore Project" - helping to support Raincoast AND this project WILL help the bears - check it out on Raincoast's website...
3. Direct Human-caused Mortality: Humans kill grizzlies - both unintentionally (via collisions with trains, cars, etc.) and intentionally through trophy hunting. While we can partially mitigate some of the accidental deaths, it is totally within our power to COMPLETELY STOP THE TROPHY HUNTING! How many bears are killed by trophy hunting in any given year? Well, in 2007, 430 grizzlies were killed in BC, with 363 of them taken by hunters (in many cases by affluent Americans and Europeans). To make matters worse, many estimate that for every bear taken, close to one other is wounded and later succumbs to its wounds and is never recovered. And this is 363 out of a population of 3,000 or 5,000 or 10,000 or 12,000 or...oh, yeah, NO ONE knows! The economic spin-off of those dead bears? Oh, about half of what each bear would be worth left alive (in terms of ecotourism and guided bear-viewing). Skeptical of the facts? Check them out here on the website of Pacific Wild...
THE CRITICAL POINT: Human caused mortality of grizzly bears via trophy hunting is a significant source of grizzly mortality and STOPPING THE HUNT is the simplest form of direct action we can take to help save the bears!
WHAT CAN YOU DO? Please sign the Petition to Stop the Trophy Hunt!
I sincerely thank you. And please help to fight the good fight by spreading the word about the petition...
Feedback to: feedback@naturalart.ca
18 January 2010: For Sale: Nikon D3 DSLR
21 January 2010 UPDATE: My D3 has been sold and is no longer available. What's that saying? Ya snooze, ya looze??
Sad as it is for me, the time has come to part with my beloved Nikon D3 body. Here are the details...
• Condition: Excellent - used but very well looked after!
• Use: 16,400 shutter actuations (rated/tested to 300,000 cycles).
• Includes: Everything in the original box, EXCEPT the box (sorry, I didn't keep it). Strap upgraded to LowePro neoprene quick-release style.
• Included Extras: Free expedited shipping to continental North American destinations.
• Price: $3100.00 CDN (Currency converter); price includes insured expedited shipment to destinations in North America.
• Preferred Payment Method: PayPal.
• Why Am I Selling It? Will be purchasing a new pro body (likely a D3s) in coming days and already own a D700...so I can't justify (even to myself) keeping 3 similar bodies.
• Availability: Immediately.
Enquiries or to Proceed with Purchase: Contact me at photography@naturalart.ca.
18 January 2010: Blind Date with a Cougar!
Okay - let's get things straight right off the bat: the cougar I'm referring to here is the 4-legged variety (and furry, with a long tail and very sharp teeth) - this is not an entry about an episode at a single's bar...
For those who don't already know, I live in a very rural area known as the East Kootenays in southeast British Columbia. How rural? While the nearest paved road is only about 2 km away to the east, you have to travel cross-country (and over several mountain ranges) for over a 100 km to the west before you'll find another paved road. The area we live in is sometimes referred to as the "Serengeti of North America", though I think that's stretching things a bit - I rarely see zebras, wildebeest, or even cheetahs around my cabin! ;-)
Anyway, late last Friday afternoon I was returning home from a nice hike with my dogs (in gawd-awful weather - think gale force winds and horizontal freezing rain) when my two Porties started going hyper. I let them follow their noses and within a few minutes they had found a freshly killed elk on our property (about 150 meters from our cabin). The elk was largely intact and had grass loosely spread over it - a typical cougar kill. And, it was surrounded by cougar tracks! The kill was located in a grassy gully and clearly visible from above on a ridge. There were ample places to sit under/in Douglas Fir trees on the ridge with a clear view at the kill. In other words, it was a near perfect position to sit back with a spotting scope and watch proceedings.
I returned a couple of times (sans dogs) during the daylight hours on Saturday to see if the cat was at the kill, but saw no sign of it. I had guessed this would be the case, as many cougars prefer to feed on a kill only after dark. Fortunately, my half-century birthday gift was a pair of night vision binoculars, so I quickly booked an after-dark "blind" date with the cougar!
At about 9 PM I left our cabin to a clear, star-filled but moonless sky and started trudging through the inky black forest towards the kill (equipped with bear spray, of course). I used a Petzl Myo headlamp to find my way through the forest (love those headlamps!) and managed to make it up the icy trail and to the ridge without breaking my neck. As I approached the crest of the ridge a pair of coyotes started yelping from just ahead - to me it sounded like they were at, or very near, the kill. I cursed under my breath, assuming that if they were there the cougar wouldn't be. I turned off my headlamp before topping the ridge and walked the last 20 meters or so in the dark, all the while listening to the coyotes kicking up an amazing ruckus. Once in position I raised my night vision binocs to the position where I thought the kill was and turned them on, just in time to see the back-ends of two coyotes sprinting away. Nuts. But in seconds I located the kill and was shocked to find the cougar there and happily chowing down on the large protein lump (formerly known as "The EIk"). It was absolutely fascinating...every minute or two the cat would look up and me and its eyes absolutely glowed in the dark (with, of course, the lighting boost supplied by the infra-red beam of my binocs). Although I'm guessing at this, it looks like the coyotes had been very close to the cougar and were doing their level best to chase it off the kill. But the cougar looked completely unfazed to me and the coyotes were the losers this go 'round.
I hung around about 15 minutes watching the cat and then decided to leave it be. I walked back to the cabin absolutely elated to have witnessed such a real world drama. And, feeling very fortunate to live in a place where such a spectacle was a really just a "backyard scene"!
I returned a couple more times on Sunday (during daylight hours) and even spent a couple of hours mid-afternoon sitting back with a spotting scope and watching to see what might come and go at the kill. It was an almost zen-like experience - you know, the typical "day in the life of a dead elk" sort of thing! Turns out that basically nothing visited the kill over the afternoon, but it was a fun way to kill a couple of hours on a mid-winter Sunday...
By this morning the ravens had found the kill. In a day or two the ravens, winter songbirds, and possibly an eagle or two - and a number of coyotes - will reduce the carcass to little more than a pile of bones. And, the cougar will move on, in search of another meal. But I'll be left with an ever-lasting memory...but this time with no photos to mark the event. Which is OK by me...this time.
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14 January 2010: The Persistent Rumour: New Nikon DSLR Coming Soon...
While I never hesitate to report on rumours of coming Nikon product releases, I rarely go so far as to make actual predictions. But, this time I will - and here it is: By February 14 (and possibly a few days earlier) we will see a new high-end Nikon DSLR body. Why February 14? Simply because this is one week before the annual Photographic Marketing Association (or PMA) tradeshow begins, and historically anyone about to show a new product at the show goes public with it about a week to 10 days before the show starts. And, because a new high-end DSLR from Nikon is a little overdue. But that's where my prediction ends...beyond that everything is pure guess-work. And here's the state of the union on the guesses:
1. Product Name: While I'm tempted to simply say "who cares?", the naming thing has been the source of a lot of speculation on the web. And, with Nikon, the name usually says a lot about the camera's specs. The current "leading" candidate seems to be the D900, though I'm still hearing and reading some call the new body a D700s (which, if past Nikon history on naming conventions means anything, should be just a tweak of the D700), others refer to it as a D700x (which should be a high res version - presumably 24.5 MP - of the D700).
2. Product Specifications: But what if it's actually called the D900 - what would that camera likely be (in terms of product specs)? Well, your guess is as good as mine, but I'm hearing that it could be:
• Option 1: A higher resolution (15 to 18 MP) DX body - like a real pro version of the D300 or...
• Option 2: A higher resolution (15 to 18 MP) smaller FX body - think a "super D700" or...
• Option 3: An even higher resolution (24.5 MP) FX body - which is pretty much everyone has been calling a D700x.
Of these 3 options I think Option 1 (the 15 to 18 MP DX body) is highly unlikely. If it were well-built and had even decent low-light/high ISO performance I might want one myself though! Not only is the naming wrong (it would be more likely to be called a D400 or D500), but this camera would kill the sales of the newly introduced D300s. And, I don't think Nikon is looking in this direction right now (or possibly ever).
What about Option 2 (the 15 to 18 MP FX body)? I don't think so...if you look at the big picture introducing a full-frame body in this resolution range is pretty old hat - after all, that's pretty much what Canon did several years ago. Sure it would be nice to have that kind of resolution AND the high ISO performance of say a D700 (which would make it a little different than the "old" Canons), it seems illogical to me that Nikon would introduce a new image sensor right now...
Which leaves us with Option 3 (the 24.5 MP FX body). To me, this makes the most sense. Nikon has always shown a predisposition to use the same sensor in multiple bodies, and to date the D3x sensor is being used in that camera alone. Odds are that Nikon still hasn't paid off the R&D costs of the D3x sensor yet and would love to do so. And, I know a LOT of shooters (including myself) chomping at the bit to get a 20+ MP body at a price lower than that of the D3x. The counter-argument I've heard to this simply that Nikon may not be able to source enough of the D3x-style sensor to meet the sales demand that a lower priced D900/D700x would create. Could be a valid argument...
And...to avoid answering a lot of email asking the same question about what I'm going to do (or purchase), here's my answer in advance: Wait and see! I need some critical bits of information before I make a move. First, while I'm hearing anecdotal descriptions that the D3s is a stop or more better than the D3, no one has been saying if they're referring to noise or dynamic range. Since the D3 (and soon after the D700) was introduced many nature photographers have discovered that dynamic range decreases with increasing ISO are more limiting when shooting in the field than are digital noise increases. If the D3s shows an improvement or a stop or better in the inverse relationship of ISO vs. dynamic range, then that's where my new camera budget money may go. But, if the D3s isn't much better than the D3 (in that dynamic range/ISO relationship) than I may consider purchasing either Option 1 or Option 3 above. But I think I would likely pass if the D900 ends up be Option 2. What if the D3s IS better that much better than the D3 AND Nikon introduces Option 1 or Option 3? Well...I could be buying two cameras in 2010 (D3s and D900)! So depending on how things play out, I could end up buying 2 cameras in 2010, one camera in 2010, or buying nothing! And, being realistic, having to spend the year shooting with a D3 AND a D700 isn't too much of a hardship!
So...by February 14 you'll have a new Nikon DSLR of unknown specs. You heard it hear first (or second, or third...).
Feedback to: feedback@naturalart.ca
14 January 2010: New Wolf, Fox, and Coyote Images...
Right on schedule - I've updated my permanent "Wolves & Kin" gallery with the addition of 8 new images of wolves, foxes, and coyotes. The new images are located in various places in the gallery, but begin right at the "front door" with this image of a fully wild wolf laying in wildflowers. My favourite additions include this gentle-looking wolf standing on a forest trail and My favourite additions include this very well-camouflaged Arctic Fox. LIke always, there's a story (or helpful hint) behind every image, so don't forget to click on the tabs ("In the Field", "Behind the Camera", etc.) immediately below each image to learn more a little more about each of them.
Enjoy!
Feedback to: feedback@naturalart.ca.
11 January 2010: Website Update Continues - New Images in Scenics Gallery...
If you think I ONLY shoot wildlife images, then this news may surprise you a little. I've been continuing to update the image galleries and I've just added 6 new images to my permanent Scenics Gallery. The newest images are a mix of shots from the East Kootenays of southeast BC and from the Great Bear Rainforest of our northern coast. They're sprinkled throughout the scenics gallery, but begin here with one of my favourite "backyard" shots (this image shot under 500 metres - as the crow flies - from my house). As always, I include all the gory details behind every image - so don't forget to click on the tabs (e.g., "In the Field") below the images for all the details. Enjoy!
Next up - several new images for the "Wolves & Kin" gallery...check back soon!
Feedback to: feedback@naturalart.ca.
07 January 2010: Welcome Firmware Updates for the Nikon D3 and D700
Just yesterday Nikon announced firmware updates for 4 of their digital SLRs - the D300s, D700, D3, and D3x. Most online photo news sites (such as dpreview.com and robgalbraith.com) list support for 64 GB CompactFlash cards as the "headline" change. BUT, dig a little deeper and there's a change to something in both the D700 and D3 that certain types of shooters will jump for joy over (including me). The change I'm referring to? You can now fine tune the Auto ISO function on both the D700 and D3 much more precisely: in the past you could set the maximum ISO portion of this function in only full stops, but now you can adjust it in increments as small as 1/3 of a stop.
Huh? Who could care less? Serious field shooters, that's who. Since the release of the D3 Nikon shooters have enjoyed amazing high ISO performance and even very discriminating photographers have found that under certain circumstances (think low contrast scenes) they can produce gallery-quality images at ISO's up to ISO 2500 and even higher. Many of these same shooters also discovered that the Auto ISO function of both the D3 and D700 was so well-executed that it gave them unprecedented freedom to shoot under incredibly demanding conditions - think very low light (such as in an dimly lit gymnasium or, perhaps, in the overcast sky of the Great Bear Rainforest) and while hand-holding a longish lens (think of a sports photographer hand-holding a 300 f2.8 VR in that same dim gym or me dangling a 600 f4 VR lens off a Zodiac after sunset in that same Great Bear Rainforest). The ONLY thing that irritated me about the Auto ISO function was that for some unknown reason you could only adjust the maximum permissible ISO you'd permit the camera to creep up to in full stop increments. So if you needed a little more sensitivity than ISO 800 would offer you had no option other than bumping up the maximum ISO to 1600. BUT, often times I would have preferred capping it at ISO 1000 or ISO 1250 (largely due to diminishing dynamic range issues). NOW, Nikon has addressed this issue with this very much appreciated firmware update. Thank you, Nikon!
A few final words on Auto ISO as implemented by Nikon. First, if you're a field shooter who often works in low-light situations AND you shoot with a Nikon D3, D3s, or D700 AND you haven't tried out the Auto ISO function on these cameras - do it! I'm totally against MOST "auto" functions on today's SLR's, but the Auto ISO function on these cameras is so good that it enables you to get the most out of the amazing high ISO performance of these cameras. Second - and I know this point will result in some angry email in my inbin - if you're camera has only marginal high ISO performance (like, in my opinion, the D300 or D300s), then the Auto ISO function is both MUCH less useful and much less valuable. Shooters using the D300/D300s aren't sacrificing much by ignoring the Auto ISO function.
Feedback to: feedback@naturalart.ca.
07 January 2010: And ANOTHER Dozen New Bear Images...
Nope, I haven't been sitting around doing nothing since the New Year - I've been busy updating several sections of this website. I've just added another 12 new images to my permanent Bear Gallery. Add these new images to the additions in late December and you'll find there's now 24 new images in the Bear Gallery. The newest images are primarily of polar bears and grizzlies and are sprinkled throughout the gallery, but begin here with one of my favourite grizzly images shot in 2009! Of course, there's a story (or little lesson I learned) behind every image - so don't forget to click on the "In the Field" tab below the image for all the gory details. Enjoy!
Feedback to: feedback@naturalart.ca.
21 December 2009: The ULTIMATE Gift for the Nature Photographer Who Has Everything?
Still looking for that perfect gift for the nature photographer in your life? Or...looking for a treat for yourself because that D3x didn't show up under the tree? Well, gadgets are great - but they come and go pretty fast. But...a once-in-a-lifetime trip on one of my fantastic Photo Tours will produce memories (and images) that will last forever. And, just coincidentally, I just posted detailed information about, and started accepting bookings for, my 2011 photo tours. Here's where to go for more information:
• A full listing of ALL my 2011 Photo Tours are down this aisle ;-)
• If you're interested in my "Grizzlies of the Khutzeymateen Instructional Photo Tour" Download THIS BROCHURE (PDF: 476 KB)
• Looking for a shorter (and more economical) trip with less instruction? Then my "Grizzlies of the Khutzeymateen - Just the Photo Op, Please!" tour may be perfect for you. Download THIS BROCHURE (PDF: 434 KB) for more information.
• If covering more terrain or having a wider variety of wildlife to photograph is for you, then my "Spirit Bears and the Great Bear Rainforest Instructional Photo Tour" may fill the bill better! Download THIS BROCHURE (PDF: 535 KB) for all the details.
For more info, or to reserve your spot on one (or more) of these photo tours, email me at: seminars@naturalart.ca.
19 December 2009: A Dozen New Bear Images...
I've just added 12 new images to my permanent Bear Gallery, with about a dozen more to come in the next week or so. The new images include Spirit Bears, Black Bears, and (of course) grizzlies and are sprinkled throughout the gallery, but begin right here at the front door to the gallery. The new images include some of my all-time favourites, such as this very, very black Black Bear and this adult grizzly enjoying his evening Night Cap! As always, there's a story behind every image - so don't forget to click on the "In the Field" tab below the image for all the gory details. Check 'em out!
Feedback to: feedback@naturalart.ca.
13 December 2009: 2011 Photo Tours - Grizzlies, Spirit Bears, Black Bears, Orcas and More!
I posted ALL the details of my 2011 Photo Tours late last night on my Seminars and Workshops page. And, as expected, the very limited number of spots are already starting to disappear. So, if you have an interest in attending any of these spectacular photo tours, I'd advise "shaking a leg"! Here's the specific spots to go for the details:
• For a listing of ALL 2011 Photo Tours START HERE.
• For the 2011 "Grizzlies of the Khutzeymateen Instructional Photo Tour" GO HERE.
• For the new (offered in 2011 for the first time) "Grizzlies of the Khutzeymateen - Just the Photo Op, Please!" tour TAKE THIS EXIT.
• For the other new 2011 Photo Tour - "Orcas, Humpbacks and More: Aquatic Mammals of the Central Pacific Coast" - FOLLOW THIS LINK.
• And for the fabulous "Spirit Bears and the Great Bear Rainforest" Photo Tours - TAKE THIS DOOR.
The remaining available spots on these tours will be allocated on a first-come, first-served basis.
For more info, or to reserve your spot on one (or more) of these photo tours, email me at: seminars@naturalart.ca.
08 December 2009: 2011 Photo Tour Information is Imminent...
I've been receiving an increasing number of emails asking me about my Photo Tour offerings for 2011. Here's the big picture: for 2011 I'll be offering an increased number of Instructional Photo Tours (and one pseudo-instructional photo tour) into the Great Bear Rainforest. So there will be TWO "Grizzlies of the Khutzeymateen" photo tours (one full instructional tour and one "pseudo-instructional" tour) and TWO "Spirit Bears and the Great Bear Rainforest" instructional photo tours. Plus for 2011 I'll be adding an 8-day "Orcas, Humpbacks and More: Aquatic Mammals of the Central Pacific Coast" photo tour focused on the inhabitants of the nutrient and biologically rich waters off the northern tip of Vancouver Island.
Full details will be available no later than Saturday, December 12 (and possibly earlier). My Khutzeymateen and Spirit Bear trips have a history of selling out VERY quickly (often in a matter of days), so if you're interested in attending one of these "once in a lifetime" (I know, sounds corny - but it's TRUE!) trips, stay tuned. Full details will be found on my Seminars and Workshops page (with links from this page, of course).
For more info email: seminars@naturalart.ca.
06 December 2009: Up for Grabs: AFS-Nikkor 70-300 mm f/4.5-5.6 IF ED VR G Zoom Lens
07 December UPDATE: Sorry - this lens has already sold (I told you it would go away fast!).
With my recent acquisition of the new 70-200mm VRII lens my virtually new 70-300mm VR zoom is now up for sale. I purchased the 70-300mm VR to "hold me over" until the 70-200mm VRII was available so I no longer need this lens.
All the gory details (price, included extras, payment method, etc.) are on my Gear for Sale page...
If you're interested you better act fast - I price my used (or should I say "fully pleasure-tested"?) gear to go away fast! And just in time for Christmas!
Feedback to: feedback@naturalart.ca.
04 December 2009: First Impressions: Nikon AF-S 70-200mm f/2.8G ED VR II
I have spent the bulk of my "free" time this week shooting with (and evaluating images shot with) the new 70-200mm VRII lens. After about 1500 shots and way too much time in front of the computer I can say this: If there was ever a single "must-have" lens for the Nikon-using nature photographer, this lens is it! Really. My "Executive Summary" on the lens is immediately below. A more detailed account of my findings (including selected images from my testing) can be found here in my Camera Gear Section.
The Executive Summary: This lens is a very, very solid performer that I will be using a LOT! It is VERY sharp at all normally-used apertures (which means f2.8 thru f11 for me) though not quite as sharp when shot wide open. The bokeh (quality of the out-of-focus zones) is superb and at f2.8 rivals that of the venerable (and amazing) Nikon AFS 200mm f2 VR. The autofocus is blazingly fast. The VR works as advertised (which means very, very well!). Teleconverter performance (with the 1.4x TC-14EII) exceeded my expectations dramatically. BUT, the lens is NOT completely perfect - edge-to-edge sharpness is not stellar at 200 mm at larger apertures, though this limitation can be overcome by stopping down to only "reasonably small" apertures. Plus, some users will find the reduction in focal length when focusing the lens on very close subjects troublesome. But, in my opinion there are enough subtle improvements (and some not-so-subtle improvements) in this lens that combine to make the "whole package" markedly better than its precursor. For me, and I suspect many FX body owners, this lens is as close to a "must-have" lens as any on the market. DX body owners who don't already own the previous iteration of this lens will love it (and I highly recommend it for them). For DX body owners who already own the previous version - you know, that "old" (but nearly legendary) lens works so well on DX bodies already that I couldn't really recommend swapping your current lens for this one (unless, of course, you have money to burn).
UPDATE (5 December): I have updated my "mini-review" of this lens (and the executive summary above) to include a brief discussion about the "Mysterious Shrinking Focal Length" (when focusing at close subjects) issue...
Feedback to: feedback@naturalart.ca.