November 3rd, 2010
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This image is a stitched, offset composite. The two originals were created within moments of each other with the Canon 800mm f/5.6L IS lens with the EOS-1D Mark IV. ISO 400. Evaluative metering +1 1/3 stops off the sky set manually: 1/160 sec. at f/16. .
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Photoshop Lesson, For Randy
I was photographing all three vultures (at f/16 for lots of depth-of-field) when the Black Vulture on our right hopped out on the branch to stretch one wing. Thinking digitally and thinking fast I created two images of the stretching bird and then pointed the camera left and down, re-focused on the eye of the Black Vulture on the left, and created an image of the two birds on the left (with a bit of overlap). I had a plan! I was in my Toyota Sequoia working on the BLUBB with a Double Bubble Level in the hot shoe.
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When I saw the vulture do an elegant wing stretch, I focused on the eye using rear focus AF, recomposed, and made two images. This was the best.
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My first thought was that I could crop out most of the intruding Turkey Vulture from the left side of the frame and cover the rest of it with a Quick Mask. But then the idea of creating a composite came into my mind.
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So I re-framed down and left, focused on the eye of the Black Vulture on the left, and created three more images.
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The image above had the best head angles.
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First I used a series of Quick Masks to cover the back of the Black Vulture on the right of the frame.
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Then I expanded canvas above.
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Now it was time to work on the original wing stretch image.
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First I used a series of Quick Masks to cover the portion of the intruding bird on the left. Then I expanded canvas below. And then I added a ton of canvas on the right so that I could bring in the other two birds on a layer.
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Next I went back to the image with the two birds, put them on their own layer (Control J), and moved them into position with the Move Tool (V).
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Notice that part of that layer covered the stretching bird. Not to worry. The main problem was to match the branch. By reducing the opacity of the introduced layer to 70% that was a snap. I noticed however that there were depth-of-field issues with the branch even though I was able to match the two sections perfectly by moving the layer up or down, right or left one pixel at a time with the arrow keys. The solution is below.
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Next I created a Layer Mask and erased the portion of the layer that covered the stretching bird.
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To deal with the depth of field differences I painted a Quick Mask of the too-sharp portion of the broken branch and applied a .7 pixel Gaussian Blur to it. Even blown up it looked much more natural.
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After that, I added the needed sky with another series of Quick Masks. (Thanks Robert; I couldn’t live without them!) Then it was some of the usual clean-up, some Tim Grey Dodge and Burn, some Eye Doctor work, and a few contrast masks to sharpen the heads of the three birds non-destructively. And voila. Vision accomplished.
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Most of what I did above is detailed in our Digital Basics File, which includes the basics of Quick Masking. Advanced Quick Masking Techniques are taught in Robert O’Toole’s APTATS I. Everything that I learned about Layer Masks I learned from Robert’s APTATS II.
Tim Grey Dodge and Burn will be covered in the next update to Digital Basics; I hope to finish that before the end of the year 🙂
BIRDS AS ART Bulletin #345
BIRDS AS ART Bulletin #345 is on-line now and can be viewed here thanks to the hard work of Peter Kes.
The Bulletin includes a slew of great vulture images and lots of great info on the Canon EOS-7D and our EOS-7D User’s Guide.
Here is a list of the features:
- FCCC APPEARANCE/NAPLES FLORIDA: NOVEMBER 7
- CANON EOS-7D USERS GUIDE UPDATE
- CANON EOS-7D USERS GUIDE KUDOS
- CANON USERS GUIDE COMPLAIN E-MAILS
- MARK IV USERS GUIDE UPDATE SENT
- BOSQUE IPT AND BLURRY DAY LATE REGISTRATION DISCOUNTS
- THANKSGIVING AT BOSQUE
- CANON USED 70-200M F/2.8 L IS FOR SALE/PRICE REDUCED
- A GUIDE TO PLEASING BLURS
- POSSE NEWS/ROBERT AMORUSO
- SHOPPERS GUIDE
- IPT UPDATES
SHOPPERS GUIDE
Here is the gear that I used to create the two vulture images:
Canon 800mm f/5.L IS lens
Canon EOS-1D Mark IV professional digital camera body
And from the BAA On-line Store:
Double Bubble Level
BLUBB: the Big Lens Ultimate Beanbag
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shoppers Guide.
November 1st, 2010
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Todd is highly skilled with fast reflexes and a great eye for composition and image design. Here his strength allowed him to hand hold the Nikon 200-400 and create this image of a Brown Pelican head throw.
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Photographing San Diego with BIRDS AS ART by Todd Gustafson
All images copyright 2009 and courtesy of Todd Gustafson. (Thanks to Todd for writing this guest blog post for me; photo captions written by Arthur Morris.)
As nature photographers we sometimes get trapped in the mindset of “I need to travel to an exotic location for great photographs.” San Diego is an easily accessible location that disproves the myth.
Traveling there and photographing with Arthur Morris in January of 2010 was an exhilarating, rewarding and educational experience. It is one of Arthur’s favorite locations and offers bird photographers new species in a wide variety of habitats every day. Five species of gulls, Redhead, Cinnamon Teal, Northern Shoveler, Surf Scoter, lots and lots of Wood Ducks, while beautiful and fun to photograph, were merely the supporting cast. The stars of the show were the California race of Brown Pelicans (most in stunning breeding plumage). The cliffs of La Jolla cliffs were the stage and the blue Pacific Ocean the back drop. Arthur and his intimate knowledge of the area, the species that live there and his understanding of their natural history allowed us to be in the right place at exactly the right time for dramatic photography.
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I will admit to pointing out the black reflections to the group and explaining the need to be working in Manual mode to avoid any exposure nightmares. As expected, Todd executed everything perfectly in order to create this spectacular Wood Duck image.
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Santee Lakes offers so many waterfowl species that it would seem that anyone with a camera could make great photos there. The reality is that there are many decisions that need to be made in a split second in order to capture a dramatic subject at just the right moment. Art’s expertise and teaching skills help IPT participants choose the best subjects and situations, the correct light angle, and the best backgrounds.
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Here again Todd’s quick thinking and reflexes paid off. I saw this Wood Duck looking up into an oak tree that hung over the pond. I had no idea what is was doing so I called it out the the group. I was much too close with my 800 but Todd and others got some great images. I am hoping to see that behavior again this year!
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Artie knows a beautiful stretch of beach where tall buff-colored stand above wide, glistening, wet sand beaches and reflect golden afternoon light providing a magnificent setting for the shorebirds and gulls. Advance research gets us to the gently sloping beach as the low tides coincide with the setting sun for perfect light on the Marbled Godwits hunting for invertebrates in reflections of liquid gold.
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This winter Black-bellied Plover fed on a small rock for more than 20 minutes giving everyone lots of excellent chances.
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When you approach the La Jolla cliffs for the first time there is a dreamlike feeling of unreality. There are pelicans–usually dozens–roosting on a promontory overlooking the Pacific. Moat are in breeding plumage with each individual sporting a different combination of colors. The birds are approachable and it becomes an exercise in choosing your favorite bird and getting into position to make the photo that you envision. It doesn’t take long to get a cardful of beautiful portraits. The next realization is that these birds exhibit dramatic behaviors that would make great photographs. The massive birds fly from cliff to cliff and ride the updrafts as they search for a landing spot. This is the perfect time to practice flight photography. I especially like the spread wing position as they hover for a moment before touchdown. A unique and even more difficult shot is the “head throw.” The pelicans throw their heads back and point the bills up in the air, sometimes completely over their backs all the while with their bill pouches extended. The action is so fleeting that it is difficult to choose the right bird out of so many. Most times the head toss is completed before you can frame and focus on the subject. What makes La Jolla a great place to photograph is that the behaviors are repetitive; you will have lots of chances to hone your reactions capture the action!
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Here Todd opted to work a bit wider to include some habitat in the background. Again, his timing was impeccable.
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The chance to photograph lots of intriguing subjects, in great settings, exhibiting dramatic behaviors, and in great light are four reasons that i’ll be back in San Diego with Artie this year.
To learn more about Todd and his trips, check out the video here.
Get a copy of Todd’s great safari photo guide here: The Photographers Guide to the Safari Experience
Both Todd and Photoshop guru Tim Grey will be leading the San Diego IPT with me this January.
SAN DIEGO IPT: JAN 19-23, 2011. Mention the BAA Blog when you call to leave your deposit and and we will be glad to apply a $300 discount to your balance!
Slide program on the evening of JAN 18. 5 Full Days: $2399 (Limit 8/Openings 3) Co-leaders: Tim Grey & Todd Gustafson. Brown Pelicans in spectacular breeding plumage with their bright red bill pouches, Wood and Ring-necked Ducks, Lesser Scaup, Western, California, and Heerman’s Gulls, Marbled Godwit, and lots, lots more. Please see terms and deposit info below.
Terms and deposit info:
A non-refundable deposit of $500 is required to hold a spot on the above IPTs. Deposits may be paid by check, PayPal, or credit card. Payment in full (by check or money order only) is due four months before the start of each trip and is non-refundable unless the IPT sells out. You will be required to sign a statement of understanding to this effect. Travel insurance is of course highly recommended. Travel Insurance Services offers a variety of plans and options. Included with the Elite Option or available as an upgrade to the Basic & Plus Options is Cancel for Any Reason Coverage that expands the list of reasons for your canceling to an infinite list from a sudden work or family obligation to a simple change of mind. My family and I use and depend on the great policies offered by TIS whenever we travel. You can learn more here. Do note that many plans require that you purchase your travel insurance within 14 days of our cashing your deposit check or running your credit card. Travel insurance protects you against unexpected developments, injuries, or illnesses. We regret that we must implement this new policy but we have been plagued by last minute cancellations that make it impossible for others to participate and deprive us of essential income.
Shopper’s Guide
Here is a list of the gear that Todd used in San Diego:
Nikon D3S Digital SLR camera body
Nikon AF-S NIKKOR 200-400mm f/4G ED VR II lens
Nikon Telephoto AF-S Nikkor 600mm f/4G ED VR Autofocus lens
Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II Lens
And from the BAA On-line Store:
Wimberley V2 tripod head
Gitzo GT3541XLS Tripod Todd is 6′ 8″ tall! This is the only tripod that works for him.
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shopper’s Guide.
October 30th, 2010
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This vertical of Angel’s Veil (at Mammoth Hot Springs, Yellowstone National Park) eliminated the problem of whether or not to keep the tree branches in the lower left corner. The image was created with the Canon 70-200 f/2.8 L IS II (at 165mm) with the EOS-1D Mark IV. ISO 400 in pre-dawn light. From a 5-frame bracket (4 selected for the HDR processing) +/- 2/3 stop around +1 stop: 1/8 sec at f/22. Tripod-mounted (3530 LS). Giotto’s tiny ballhead (MH 1302)and bubble level. With the Giotto’s ballhead I can switch from a short wide angle zoom with a P-5 plate on the camera body to the 70-200 f/2.8 with a P-20 plate on the tripod collar. Just like I do in Bosque. It takes 3 seconds to spin off the Mongoose and put on the tiny ballhead.
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My Thoughts on the Angel’s Veil Images; And More
Regarding the two horizontal Angel’s Veil images presented in the August 28th blog post. First off, thanks to all for playing–even Ivars. I will do more of these as the “Which Do You Like Better” approach seemed to be quite popular 🙂 When I first worked on this image, I liked the one with the branch in the corner. Then I posted it on BPN here and by popular demand I posted a version with the branch removed. Then I started liking that one better but I realized that I liked the second one better because it was a bit darker. So I went back and darkened the version with the tiny tree branches in the lower left corner. I still favor that one for the reasons mentioned both in the comments below on in the BPN thread.
Thanks all also for your kind words about the image. I like it a lot too. There really is no correct answer here, it’s what you like best. But I would like to thank the following folks for reading me mind: Beverley, Esther, Gerry, Mark, and Thomas. We were a small group. Several others were on the fence 🙂 And Ivars got the right answer for the wrong reason.
BIRDS AS ART BULLETIN #343
BIRDS AS ART BULLETIN #343 is on-line and can be seen here.
FEATURES
- CANON EOS-1D MARK IV USERS GUIDE UPDATED
- WYOMING BLURS
- AN IN-DEPTH INTERVIEW OF YOURS TRULY
- CANON USED 70-200M F/2.8 L IS FOR SALE
- POSSE NEWS: PETER KES
- THANKSGIVING AT BOSQUE
- A GUIDE TO PLEASING BLURS
- POSSE NEWS/ROBERT OTOOLE
- SHOPPERS GUIDE
- IPT UPDATES
Shopper’s Guide
Here is a list of the gear that I mentioned in this post.
Canon 70-200mm f/2.8L IS II lens
Canon EOS-1D Mark IV professional digital camera body
And from the BAA On-line Store:
Double Bubble Spirit Level
Giotto’s MH 1302-655 Tiny BallHead
Wimberley P-5 Camera Body Plate
Wimberley P-20 Plate
Gitzo 3530 LS Tripod
Mongoose M3.6 Tripod Head
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shopper’s Guide.
October 28th, 2010
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This image was created with the Canon 70-200 f/2.8 L IS II (at 145mm) with the EOS-1D Mark IV. ISO 400 in pre-dawn light. From a 3-frame bracket +/- 1 stop around +1 stop: 1/8 sec at f/22. Tripod-mounted (3530 LS). Giotto’s tiny ballhead (MH 1302)and bubble level. With the Giotto’s ballhead I can switch from a short wide angle zoom with a P-5 plate on the camera body to the 70-200 f/2.8 with a P-20 plate on the tripod collar. Just like I do in Bosque. It takes 3 seconds to spin off the Mongoose and put on the tiny ballhead.
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Which “Angel’s Veil” Do You Like Better and Why?
I named this small beautiful section of the Lower Terrace at Mammoth Falls “Angel’s Veil.” Each image here was created with NIK’s new HDR Efex Pro from a series of three bracketed images. I will be talking lots more about this great new plug-in the coming days and weeks.
The question for today is which do you like better, the image above with the tiny tree in the lower left corner, or the version below without it?
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Here I used my “Divide and Conquer” Clone Stamp Tool techniques along with a few Quick Masks to eliminate the ranches of the tiny dead tree, all as described in detail in the Digital Basics PDF along with dozens of other great tips and the complete BAA digital workflow.
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Shopper’s Guide
Here is a list of the gear that I used to create the three images for the HDR sequence.
Canon 70-200mm f/2.8L IS II lens
Canon EOS-1D Mark IV professional digital camera body
And from the BAA On-line Store:
Double Bubble Spirit Level
Giotto’s MH 1302-655 Tiny BallHead
Wimberley P-5 Camera Body Plate
Wimberley P-20 Plate
Gitzo 3530 LS Tripod
Mongoose M3.6 Tripod Head
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shopper’s Guide.
October 24th, 2010
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This image is copyright and courtesy of Myer Bornstein, a two time (15 years apart!) Jamaica Bay Wildlife Refuge IPT participant. Thanks Myer! It was made on this summer’s IPT at Nickerson Beach, Long Island, NY
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Who is This Man?
First off, I think that I am a pretty nice guy. Those who have known me for a while feel that I have mellowed considerably over the years. Why? Because I have. I am a pretty good photographer and a great teacher and educator. I have been lucky but much of my luck as it often is has been the result of hard work. I have tried to be a good father to my two wonderful daughters and a good grandparent to my four little ones, two of whom are not so little. I have always been opinionated and that will never change 🙂 I will always tell you the truth unless I think that it might hurt you. There are lots of negative stories about me out there and I am proud of the fact that pretty much all of them have been generated by folks who have never met me, by folks who do not know me at all.
My very dear lady friend Denise Ippolito asked me a few weeks ago to answer some interview questions for her and I agreed. She combined my answers with her views on the real me and posted the whole shebang on her blog (A Creative Adventure) today. I have done more than my share of interviews over the years and I gotta say that it is the most honest in-depth one I have ever done. If you’d like to get to know me better check out Denise’s October 24, 2010 blog post here.
To whet your appetite, here is an excerpt from Denise’s story (as she calls it):
I learned a lot about Artie the “man.” He is a wonderful father and grandfather. He loves his 2 daughters and his grandchildren very much. Seeing him run around with them makes me see the young boy inside of him. He always reminds me of a kid with his boyish charm. He has a devilish smile and grin. He loves to read and I love it more when he reads to me. He tells me stories about everything. He is a great storyteller.
Artie is not much into style and he barely brushes his hair. His eyebrows are over grown and his T-shirts all have stains on them. He makes no concessions for the way he looks and doesn’t give a darn who cares. He wears his glasses around his neck like a necklace. I’m not fond of that look. His words sometimes cut like a knife. He doesn’t see that he can be viewed as inconsiderate by others. Sometimes in a restaurant he is curt with the wait staff. We are worlds apart when it comes to that. I don’t think he sees himself as slightly rude. He sees it as- he knows what he wants and he is ready to order and why wait? He is however very kind and sweet most of the time. He is unique in a lot of ways. He tirelessly answers all his own e-mails and some at great length. He is very stubborn, sometimes rehearsed, selfish to a certain degree, he has tunnel vision and is clearly focused, he can be confrontational, articulate, argumentative, clumsy on occasion, very gifted with words, and smart as a whip. He can be very one-dimensional, is very talented, driven, passionate, aggressive, opinionated, hard working, and timid- yes timid. He is a devoted man with a kindness that he shields.
And here is question 9 along with my answer.
9) Are there any profound experiences in your life that has affected the way you approach photography and your career?
Yes, there are two.
The first is my relationship with my late-Dad, Private First Class Robert E. Morris. Bob Morris, who loved his stamps the way I love my birds, was severely injured on Okinawa towards the end of World War II. After his death in 2001, I read his warm, loving , war-time letters to my Mom and realized that he had been profoundly affected by both the war and his war injuries. He was a typical WWII dad: a stern, cold taskmaster who was not big on either hugs or praise. I somewhat jokingly say that the nicest thing that he said to me when I was growing up was a growled “Take out the damned garbage.” And our relationship deteriorated throughout my adulthood though in the few years immediately preceding his death he did mellow some.
For as long as I can remember I have been motivated to do my very best at anything I chose to undertake. I practiced hard in my teens and became a proficient bowler and did the same in my late teens and early twenties with golf, eventually becoming a four handicapper and captain of my (not very good) college golf team. In my twenties and early thirties I would rather die than lose a game of pick-up basketball. And after a few years of struggling at the beginning of my elementary school teaching career I became a truly superb classroom teacher in the New York City system. And I have the Lesson Evaluation letters from Principal Irwin Schwartz to prove it. I firmly believe that during the middle ten years of my teaching career I was a better teacher then than I am a bird photographer today. And I do think that I am at present a pretty good bird photographer, writer, and educator. What drove me all those years and continues to drive me today? The desire to hear the praise from others that I never heard from my Dad. Before his death I did get to write him a letter thanking him for being a mean sob and explained that his actions had been largely responsible for my many successes. My younger sister Arna read him my letter and she told me that as she read to him he was smiling from ear to ear. Since his death I have come to realize that he did in fact love me a lot, he just had trouble showing it. (See: Seeing Your Life Through New Eyes; Insights to Freedom from Your Past.) And furthermore I have grown to the point where simply knowing that I am doing my best is more than enough for me. Kind words of praise from others are now viewed as icing on the cake.
The second is the death of my late-wife, Elaine Belsky Morris. I lost her and her wonderful smile on November 20, 1994. Elaine was my best friend and my biggest supporter. The love that we shared was as great as anyone could ever wish to know. Her death –as one might expect–turned out to be the single most profound experience of my life, and the most painful as well. But in the end her death led me to a newfound peace through The Work of Byron Katie. I have become a lover of what is. For seven years I wallowed in the grief of Elaine’s death. The Work taught me that my suffering was a choice and that I could easily have chosen happiness instead. (I first learned about The Work from my dear friend and health guru Dr. Cliff Oliver of San Diego. Thanks Cliff!)
Let’s do The Work on Elaine’s death: “Elaine should not have died.” Is it true? “Sure.” Do I know it to be absolutely true? “Well, no.” How do you feel when you have that thought, Elaine should not have died? “Hurt. Alone. Abandoned. Unloved. Like the victim of a great unfairness.” Who would you be without that thought? “Happy and easy going and loving life.” Can you give one sane reason for having that thought over and over again, for letting it dominate your life? “No. None.” Now let’s try to turn the original thought (“Elaine should not have died”) around and ask “Could the turn-around possibly be truer than the original thought? 1st turn-around (to the opposite): Elaine should have died. That is obviously truer than “Elaine should not have died.” Why? Because she did die. To believe otherwise is to beat your head against the wall of reality. 2nd turn around (to the self): artie shouldn’t have died. That’s an interesting thought as for seven years I was dying…. 3rd turn around: artie should have died. Not really. I am glad to be alive. In considering the turn-arounds it is possible to find peace instead of pain. I have done that and doing so has dramatically changed my approach to life in general and in turn has affected my career and the way that I approach photography as well. I am not in the huge hurry that I once was always in. I can enjoy a walk in the woods without a long lens–gotta bring a short lens though Smile emoticon. I am much more mellow than ever and much more accepting of both others and the everyday challenges that life brings to all of us on a daily basis. My approach to both photography and my career is much more relaxed. If there are no birds or I drop a lens into salt water, I simply smile and love what is. I enjoy my work more than ever and I enjoy my successes more than ever (and my failures too). I have come to realize that Elaine’s death was the best thing that could have ever happened, and I can prove it. How do I know that? Because it happened.
I do of course miss her dearly but her love is ever-present. And I have been at the point for quite some time now where I can think of the great times and love that we shared and the wonderful person that she was and smile rather than cry. And I can hear her say, “You watch. My Arthur is gonna be the best bird photographer in the world.” Now all that I do is enjoy each breath.
Thanks d for a job well done.
October 23rd, 2010
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This image was created with the Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 50. Evaluative metering -1/3 stop: 1/13 sec. at f/32.
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How Slow Can You Go With the Rapids?
Each of the images in today’s blog post was created at LeHardy Rapids. Denise and I spent three of our four Yellowstone afternoons there; I guess that we liked the fast water 🙂 With each image I used a slow shutter speed to blur the water to convey to the viewer a sense of the habitat that these two species occupy. For the Common Merganser image above I was able to use an extremely slow shutter speed so that the patches of whitewater would look like silk. With the 800’s great new 4-stop IS system I was able to render the birds sharp even at 1/13th sec. Quite remarkable.
With the American Dipper image below I knew that I could blur the water pleasingly at a much faster shutter speed. What’s with that? With moving subjects the degree of blur will–at a given shutter speed–be greater with subjects closer to the camera than with subjects farther away. In A Guide to Pleasing Blurs Denise and I cover the six factors that influence the degree of blurring. In detail. Knowing them can help you to create better images.
Serious students will have noted the vast difference in exposure compensation needed for the two images here. The first image was lit by bright sun and was overall dark blue water. I needed some underexposure to avoid blowing out the white breasts of the mergs. The second image was created in the shade and the scene averaged to nearly white. I knew that to render the water white and get some light on the dark bird I would have to add lots of light. So I did. If you are at all confused by the above you need to study the exposure simplified section in The Art of Bird Photography II (916 pages on CD only). Serious students will want to master exposure theory by studying the Exposure chapter in the original The Art of Bird Photography (in soft cover). Save $10 by purchasing the combo here.
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This image was also created with the Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 50. Evaluative metering +2 2/3 stops: 1/30 sec. at f/5.6.
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Shopper’s Guide
Here is a list of the gear that I used to create the two images above.
Canon 800mm f/5.L IS lens
Canon EOS-1D Mark IV professional digital camera body
And from the BAA On-line Store:
Gitzo 3530 LS Tripod
Mongoose M3.6 Tripod Head
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shopper’s Guide.
October 20th, 2010
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On our recent Wyoming trip Denise Ippolito and I spent lots of times creating pleasing fall-color blurs. This image was created with the 70-200mm f/2.8L IS II zoom lens (hand held at 70mm) with the EOS-1D Mark IV. ISO 50. Evaluative metering +1 1/3 stop:1/5 sec. at f/9 set manually. If you would like to learn to create images like this of a variety of natural history subjects, check out “A Guide to Pleasing Blurs” by Arthur Morris and Denise Ippolito.
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On Writing Well
I received a very nice e-mail yesterday that prompted this blog post:
Dear Mr. Morris, Due to the pressures of life I am only a sporadic visitor and very occasional contributor to your wonderful sites (including BPN) but I wanted to thank you for all I have learned from your books and websites. Largely because of your instruction and encouragement, I gave my first Photoshop workshop today for the local camera club– a very large and active one. The workshop was very well received – one participant even sent me a thank you email which I have added below.
I wanted to let you know of another small ripple generated by the well-crafted rocks you lob onto plastic and into cyberspace. As a compulsive wordsmith I also wanted to grab the opportunity to tell you how much I appreciate the simplicity and clarity of you writing. Good, clear writing seems to be an endangered species and paired with your meticulous attention to detail, your writing makes your books and web posts some of the finest instructional materials I have ever found. You can be sure that I am recommending your work to participants in my workshop.
Thanks again, Caspar Davis Victoria, BC
The note I received today, from a Notary Public who attended the workshop: Thank you for the session today Caspar. I learned a lot already and I can sure see it’s a long term learning thing. Thanks for your help!
I realized early in my career, way back in the late-1980s, that learning to write well can be vitally important for folks wanting to sell their images. Why knock yourself out trying to sell one image to fit someone else’s article when you can sell five or six images at a time and be paid for the article to boot? Early on I wrote extensively for Bird Watcher’s Digest and for Birder’s World. I shall forever be indebted to Mary Beacom Bowers of the former and to Julie Ridl and Mary Katherine Parks of the latter for the help and encouragement that they provided back then with my writing.
When I write, I try to keep everything simple. Because I read so much when I was a kid, I usually have no problems with clarity, sentence structure, and grammar. My old and good friend Johann Schumacher advised that I should write the way I speak. “Don’t try to use fancy words,” he cautioned, “Be yourself.” Julie Ridl gave me some great advice also: “Include lots of first-person anecdotes in your how-to writing.” I hear their words each time that I sit down at the laptop to write.
Many folks do not realize that writing is a process; by reading what I write over and over I am able to make it better and better, simpler and simpler, cleaner and cleaner, clearer and clearer. Then if at all possible I will have a friend or two read what I have written and comment on it before it is published. The single biggest error that I see with beginning writers is the need to hang onto every word that they have written. If a word or words or a phrase can be deleted without changing the meaning of a sentence then the word, the words, or the phrase must be deleted…
I have never taken a writing course in my life. Writing for the most part comes naturally to me, again as a result of my youthful reading habits. For folks interested in improving their writing today I can strongly recommend “On Writing Well” by William K. Zinsser. After that you can add “The Elements of Style” (4th Edition) by William Strunk and E. B. White. Writing is just like photography; you need to study hard and work at it to get better. Good luck with your writing.
Shopper’s Guide
Here is the gear that I used to create the image in this post.
Canon 70-200mm f/4L IS II lens
Canon EOS-1D Mark IV professional digital camera body
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shopper’s Guide.
October 17th, 2010
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This image was created with the Canon 800mm f/5.6 L IS lens with the EOS-1D Mark IV. ISO 800. Evaluative metering +1 stop: 1/250 sec. at f/5.6 at 11:30 am on a bright sunny day. The key was waiting for this Bighorn Sheep lamb to work its way into the shade. So I did.
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You Gotta Learn to Love Shade…
While I must confess that I love the low angled, richly colored light of early morning and late afternoon, those magic minutes go by all too quickly and before you know it that wonderful light is replaced either by harsh contrasty light with strong shadows or by darkness. When you want to photograph all day long there is nothing better than bright overcast. In the same manner a cloudy day will do just fine; see the Black Bear image below. When the sun is bright you can look for subjects in the shade as I did for the bighorn lamb image above. If you are doing flowers or other macro subjects you can shade your subjects either with your body, some cardboard, or a large diffuser. And on mornings that promise clear skies and blazing sun you can try to find some birds or wildlife before the sun comes up as I did with the big bull Elk below.
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Here I used the 70-200mm f/2.8 IS L II lens with the 1.4X II CT (hand held at 222mm) and the EOS-1D Mark IV. ISO 800. Evaluative metering +1/3 stop: 1/640 sec. at f/4. When Denise and I headed to Moose-Wilson Road in Grand Teton National Park we would hope for a cloudy day or look for bears in the shade. This one was created at 11:15 am on a cloudy day. Had the sun been out it would have been pretty much impossible to create a pleasing image of this Black Bear.
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When creating images in anything but sunny conditions you need to be ultra careful with the color balance of your images. On cloudy days you can get a head start by working in either Shade or Cloudy White Balance. Then you can fine tune the color in a variety of ways during post processing. All of the basics are (of course) covered in our Digital Basics File. I will be updating that soon and will be including a great new technique that Robert O’Toole taught me yesterday (along with lots of other great new stuff.
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This bull Elk image was created in pre-dawn light with the Canon 800mm f/5.6 L IS lens with the EOS-1D Mark IV. ISO 800. Evaluative metering +1 2/3 stops: 1/80 sec. at f/5.6. Note that even with a large, dark subject I needed to add lots of light to my exposure to come up with a good histogram that was pushed well to the right. Most folks will underexpose the images that they make in low light conditions.
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Shopper’s Guide
Here is the gear that I used to create the images in this post.
Canon 70-200mm f/4L IS II lens
Canon 800mm f/5.6L IS
Canon EF Teleconverter 1.4X II
Canon EOS-1D Mark IV professional digital camera body
And from the BAA On-line Store:
Gitzo 3530 LS Tripod
Mongoose M3.6 Tripod Head
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shopper’s Guide.
October 14th, 2010
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To create this image I used the Canon 70-200mm f/2.8L IS II lens with the 1.4X II TC (handheld at 280mm) and the EOS-1D Mark IV. ISO 400. Evaluative metering +2/3 stop: 1/800 sec. at f/4. See the image below for the underexposure story.
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Swimming Bison?, Dealing with Underexposure, and BAA Bulletin #342
On our last morning in Yellowstone National Park on our recently concluded Wyoming trip, Denise and I spotted three bison heading down to the Madison River to drink. We grabbed out telephoto zoom lenses and began photographing them as the river was not very wide. When they were finished drinking they began looking longingly across the river. I couldn’t believe it. “Maasai Mara in Yellowstone” I shouted after realizing that like so many Wildebeest that they were going to swim across the river. And they did. To learn what happened after they crossed, check out the Wyoming Trip Report in BAA Bulletin #342.
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This is a JPEG representation of the original underexposed RAW file from which I created the opening image in this blog post.
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With the soft light, a fairly light-toned yellow background, and a relatively small dark animal in the frame, I should have added close to two full stops to my exposure. Adding only 2/3 of one stop left me with an underexposed RAW file. (I guess my mind made the bison a lot bigger in the frame than it actually was–having a large dark subject in the frame would have told the camera to open up a lot more than it did.) Yes even the pros get the wrong exposure when things get really exciting.
To deal with the underexposure I adjusted the Exposure Slider in Adobe Camera Raw. That worked so well that I did not even have to use the Fill Light slider. Once I got the image into Photoshop I darkened the background and then selected the dark sections of the bison, ran Noise Reduction on that selection, and then desaturated it to further reduce the color noise. I was very happy with the results. Notice that I used a Quick Mask and the Patch Tool to remove two rocks on the far shoreline. Even though the image looks vastly better after conversion and optimization, it is important to realize that the techniques are straightforward and relatively simple. And they are all covered in detail in our Digital Basics File--the best $20 I ever spent in photography according to many 🙂 Digital Basics is a PDF that is sent via e-mail.
BAA Bulletin #342
BIRDS AS ART Bulletin #342 is online and can be accessed here.
Here are the features:
WYOMING TRIP REPORT/YELLOWSTONE & THE GRAND TETONS
EQUIPMENT e-MAILS
BOSQUE 2010 STUFF
THANKSGIVING AT BOSQUE
A GUIDE TO PLEASING BLURS
POSSE NEWS/ROBERT O’TOOLE
SHOPPER’S GUIDE
IPT UPDATES
Make sure to check out all the great Yellowstone and Grand Teton images in the Bulletin. I will see you back here soon.
October 12th, 2010
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I created the three frames for this HDR image on the last morning of our Wyoming trip with the tripod-mounted Canon 70-200mm f/2.8L IS II lens and the EOS-1D Mark IV (with Bubble Level). ISO 800. Evaluative metering bracketed +/- 2/3 stop around +1/3 stop at f/11. Denise and I had been tooling around on the main road looking for wildlife without success and the Tetons were covered with clouds so we headed down Antelope Flats Road to the two old old Mormon barns. We had sun on the structures for a few minutes at a time with the mountains still gray shrouded so I went tight for detail on the first barn as seen here. After I created a grunge HDR Denise helped me fine tune it with Photoshop/Filter/Artistic/Poster Edges and with NIK/Color Efex Pro 3.0/White Neutralizer. The latter brought some blue back into the gray sky. Thanks Denise! There will be lots more coming soon both on the blog and in Bulletins on several great NIK programs.
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Mormon Barn, Cabins (?), and Disaster Averted…
After we did the first barn we headed down the road a bit to the other one. Or could it have been an old cabin rather than a barn? I had created the image below on the the first morning of our trip before we headed up to Yellowstone.
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I created the images for this four frame HDR with the tripod-mounted Canon 16-35mm IS L lens and the EOS-1D Mark IV. ISO 400. I bracketed five exposures around +2/3 stop at f/5 and discarded the lightest. For the whole story on this image and lots of lessons on choosing the best perspective check out my BPN thread here. There is even an image of me in action 🙂
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And now for the near disaster….
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I created this image after nearly killing myself…. Read on for the whole story, or you could say, the hole-in-the-bridge story….
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I walked across the small wooden bridge and wound up at A facing away (with the cabin off stage right). Denise was behind me and as I wanted to stop on the end of the bridge I motioned for her to go by me. As she did she began to set up her tripod at the spot marked Denise. I attempted to set up my tripod on the end of the bridge. Only I did not notice that one of the boards that made up the bridge was either loose or broken down. In any case I was turning to my right to get a good view of the barn when I stepped on the loose board or in the hole. I am not sure which it was. Now the fun started. If I had tried to hold onto my tripod as I spun around it and I would likely have gone face down into the stream where the water was about 8 inches deep. So I simply let go of the tripod that was topped with one of my EOS-1D Mark IV camera bodies and the 16-35 that I had borrowed from Canon Professional Services. Back to all that in a minute.
As I spun towards the water and the road it seemed likely that I would hit the rocks face down. My first thought was that I would be wearing wet sneakers on the plane on my long flight home that afternoon. My next thought was that I might actually be seriously injured. Miraculously one foot hit the slimy rocks at about B and I was now facing the road, back to the barn, and gaining speed. I took a huge lunging step as I careened across the stream 100% out of control and the other foot hit bottom at about C. I managed to slow up a bit as I ran through the stream with footfalls at D, E, and F (or something like that!) In probably less than 2 seconds I was standing on the road unhurt.
Denise had felt my tripod strike the back of her hand and grabbed it reflexively saving it and its precious cargo from a trip into the stream. The older couple that was nearby was as stunned as I was. Once I realized that I had survived unscathed I said to everyone there, “Would you like me to do that again so that you can get a picture?”
Had my foot gotten stuck in hole in the bridge I would likely have snapped my tibia and fibia in one fell swoop. Had I not kept my balance and hit the rocks face down, who knows? All in all we had a good laugh at my attempt at slapstick comedy. As usual, it turned out that I was blessed….
October 9th, 2010
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This image of a Brown Noddy waiting to scoop up any wriggling baitfish that might escape from the adult pelican’s pouch was created with the hand held Canon 400mm f/4 IS DO lens and the EOS-1D Mark IV. ISO 320. Evaluative metering +1 stop: 1/500 sec. at f/4. It seems as if I clicked my ISO setting one to far to the left as the light levels were low at 6:21 am and I am completely comfortable working at ISO 400.
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The End: Galapagos Day 15/July 20, Morning, Black Turtle Cove, Santa Cruz
A short panga ride in Black Turtle Cove is a great way to end a Galapagos cruise. We were out on the water very early (as usual) as we needed to be back on the Beagle by 8am to finish packing and get to the airport in time for our flight to Quito. As always the pelicans were feeding and the noddies were landing on their heads looking for an almost free meal. In addition to the action images, we had some excellent chances with single birds perched on the rocks. We had a developing Blue-footed Booby feeding spree that never fully developed. The large flock moved quickly and over a wide area but never came into the cove. Despite the uncooperative group of boobies the morning panga ride was a fitting end to a truly wondrous trip.
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Ditto the opening image above only this time ISO 400 and this time the pelican was a juvenile.
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This Blue-footed Booby image was created with the hand held Canon 400mm f/4 IS DO lens and the EOS-1D Mark IV. ISO 400. Evaluative metering +2/3 stop: 1/500 sec. at f/4.5. It takes teamwork between the guide, in this case the gifted Juan Salcedo, the panga driver, and the photography guide–that would be me, to perfectly position the Zodiac so that everyone has a good chance to make a great image.
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This image of a perched Brown Noddy was again created with the hand held Canon 400mm f/4 IS DO lens and the EOS-1D Mark IV. ISO 400. Evaluative metering +1 stop: 1/800 sec. at f/4.5. If it seems as if I am guessing at the exposures and you are wondering how in the world I get them all right all the time (not to worry, I do screw up on rare occasion :)), check out Exposure Simplified in ABP II (916 pages on CD only). It includes everything that I learned about digital nature photography from 1998 until late 2006.
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This backlit image of a developing Blue-footed Booby feeding spree that never really materialized (with the Beagle in the background) was created with the Canon 70-200mm f/4 IS lens hand held at 154mm and the EOS-1D Mark IV. ISO 400. Evaluative metering +2 1/3 stops: 1/640 sec. at f/5.6.
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The image above was one of the very last images that I made on the trip and am glad that it included our wonderful vessel. I can’t wait to get back next summer. There is still a single opening on that trip; if you are seriously interested in joining us please e-mail me at samandmayasgrandpa@att.net. All in all it was a wonderful trip. We flew uneventfully back to Quito later that morning and enjoyed a great fine-dining farewell dinner that evening. The next day everyone flew home safely.
It has been a pleasure sharing my Galapagos journal here with you for the past ten weeks or so 🙂 Thanks for your comments and for stopping by.
Shopper’s Guide
Here is the gear that I used on our last morning’s panga ride:
Canon 70-200mm f/4 l IS lens
Canon 400mm f/4 IS DO lens
Canon EOS-1D Mark IV professional digital camera body
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shopper’s Guide.
October 8th, 2010
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This is the only image that I created on Day 14. It shows most of the group headed towards Dragon Hill without yours truly. I used the Canon 70-200mm f/4L IS lens handheld at 200mm with the EOS-1D Mark IV. ISO 400. Evaluative metering at zero: 1/5000 sec. at f/5. Read on for the explanation….
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Galapagos Day 14/July 19, Chinese Hat & Cerro Dragon, Santa Cruz Island
Day 14 was pretty much a day of winding down after nearly two weeks of intense travel and nearly non-stop photography sessions. After sleeping in, some folks opted to stay on the boat, relax, and work on images. Others, myself included, opted for one last snorkeling session. Then it was more relaxing, working on images, and Photoshop lessons for those interested.
Exhausted on all counts, I opted to skip the afternoon landing at Cerro Dragon (Dragon Hill) on Santa Cruz Island. As you will see below, I lived to regret that decision…. Those who made the landing journeyed through a forest of Palo Santo trees and Opuntia cactus to several lagoons where there were Black-necked Stilts but no Great Flamingos. Past the lagoons there were lots of land iguanas that were easy to photograph because of the wide trails and the low vegetation as well as some finches and other landbirds. Denise, who was leading the group along with Juan, spotted the rare and shy Dark-billed Cuckoo. She created several decent images but was short on focal length with only the 500 f/4 lens and the 1.4X II TC. But it was Patrick Sparkman who made me regret not making the landing….
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Thanks again to Patrick Sparkman for allowing me to share his killer Dark-billed Cuckoo image with you here. He used the Canon 800mm f/5.6L IS lens with the 1.4X II TC and the EOS-1D Mark IV. ISO 800. Evaluative metering +1 stop: 1/125 sec. at f/8. I just love the sweet BKGR colors, the loverly lichen covered perch, and the perfect head angle. Way to go Patrick!
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Denise and I each head home from Jackson Hole tomorrow. I will be back on Saturday with the final Galapagos journal blog post.
Shopper’s Guide
Below is a list of the gear used to create the two images in this blog post.
Canon 70-200mm f/4 l IS lens
Canon 800mm f/5.L IS lens
Canon EOS-1D Mark IV professional digital camera body
Canon EF Teleconverter 1.4X II
And from the BAA On-line Store:
Gitzo 3530 LS Tripod
Mongoose M3.6 Tripod Head
If you are considering the purchase of a major piece of photographic gear be it a new camera, a long lens, a tripod or a head, or some accessories be sure to check out our complete Shopper’s Guide.
October 6th, 2010
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Thanks to Denise Ippolito for sharing her grunge HDR image of the steps on Bartolome. I get winded just looking at it.
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Galapagos Day 13/July 18, Afternoon, Pinnacle Rock, Sullivan Bay, Bartolome
After a great snorkel we took a short panga ride to view Pinnacle Rock up close and personal and then climbed the 378 steps to the top of tiny Bartolome Island to enjoy the spectacular view of Sullivan Bay and Pinnacle Rock.
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Thanks again to Denise Ippolito for allowing me to use another of her fish eye/HDR grunge look images from the top of Bartolome. You can see Pinnacle Rock in the upper right center of the frame.
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This is a Patrick Sparkman image. Thanks Pat. Pat is a truly fine photographer who took several IPTs about 10 years ago. He created this beautiful 3-frame stitched panorama with the Canon 24 mm Tilt Shift II; he uses it often with both the 1.4X and 2X II TCs. You can see Pinnacle ROck on the right side of the frame. Patrick and wife Robin joined us on last summer Galapagos Photo Cruise of a Lifetime and loved the trip so much that they are considering doing it again with me in the summer of 2012. There is a single opening on this year’s July trip. Get in touch via e-mail if you are interested in learning the details.
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