September 23rd, 2010 Below is a recent Canon Press Release. My comments are below each section.
Canon Introduces the World’s Widest Fisheye Zoom Lens, a New Telephoto Zoom Lens and Two New Super Telephoto Lenses with New Extenders
LAKE SUCCESS, N.Y., August 26, 2010 – Canon U.S.A., Inc., a leader in digital imaging, rounds out its Summer product introductions with four new L-series lenses and two new accessory extenders for professionals and advanced amateurs. Leading the introductions, the EF 8-15mm f/4L Fisheye USM lens is the world’s widest fisheye zoom lens, providing professional photographers and cinematographers with a unique optical tool for capturing 180˚ angle-of-view shots on all EOS Digital SLR cameras. Photographers looking for a broad focal length range with excellent image quality will enjoy the Company’s first L-series 70-300mm telephoto zoom lens, the new EF 70-300mm f/4.5-5.6L IS USM lens, delivering outstanding sharpness, contrast and color fidelity in a compact, lightweight form factor. Canon is introducing two new versions of its popular super telephoto lenses, the new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM super-telephoto lenses delivering incredible image quality at all apertures for professional photojournalists, sports and wildlife photographers. For professionals and advanced amateurs looking to push their L-series Canon telephotos to the limit, the Company is proud to upgrade its two popular extenders with the new Canon Extender EF 1.4x III and Extender EF 2x III for additional telephoto reach and exceptional clarity. Photographers will immediately notice that the latest Canon L-series telephoto lenses and extenders have a more neutral white tone compared to earlier models. This new shade of white will be used with all L-series telephoto lenses and extenders beginning in the second half of 2010. The introductions of these Canon lenses have been timed with Canon’s latest camera introduction, the Canon EOS 60D Digital SLR camera, designed for advanced amateurs and emerging professional photographers.
“Canon’s core has always been our optics, and we are constantly challenging ourselves to produce better and more advanced optical systems for our customers. These six new products advance the state of the art in Canon lens technology and provide new and innovative tools for professionals and advanced amateur photographers,” stated Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A.
Canon EF 8-15mm f/4L Fisheye USM lens
With its unique focal length range, the EF 8-15mm f/4L USM is the world’s widest fisheye zoom lens. It delivers 180 degrees diagonal angle of view images for all EOS SLR cameras with imaging formats ranging from full-frame to APS-C, and provides 180˚ circular fisheye images for full-frame EOS models. Professional photographers and cinematographers will revel in the unique perspectives afforded to them through this lens, particularly when coupled with the highly popular full-frame EOS 5D Mark II DSLR camera. Canon’s new Fisheye zoom lens features both UD and aspherical lens elements to enhance image quality and is equipped with rubber gaskets and seals to enhance weather resistance. Canon’s proprietary SWC (Sub Wavelength Structure Coating) is used to minimize flare and a new fluorine anti-smear coating is applied to the front and rear elements to make lens cleaning easier than ever.
The Canon EF 8-15mm f/4L Fisheye USM lens is expected to be available in January of 2011 for an approximate retail price of $1,400.
My Comments
This neat lens is designed to give fish-eye coverage with all cameras including those with APS-C sensors like the EOS-7D and 50D. With full frame cameras like the EOS-1Ds Mark III and the EOS-5D Mark II this lens will provide 180 degree circular fisheye images that will border on the surreal. At the very least, I will borrow this lens and try it out at Bosque next year.
Canon EF 70-300mm f/4-5.6L IS USM lens
Compact and lightweight, yet durable and professionally sharp, the EF 70-300mm f/4-5.6L IS USM lens is the ideal telephoto zoom lens for advanced amateurs looking for that extra reach to bring a subject in tight and close. Providing the power and durability to maximize every shooting opportunity, the Canon EF 70-300mm f/4-5.6L IS USM lens features two UD ultra-low dispersion glass elements for enhanced sharpness, L-series weather and dust sealing for shooting in harsh conditions, improved mechanical design, and streamlined ergonomics to help avoid inadvertent mode switch operation. The shapes of the lens elements and their coatings have been optimized to minimize ghosting and flare to produce high-contrast and high-resolution throughout the zoom range. A sophisticated floating system optical formula optimizes image quality at all distance settings and reduces minimum focusing distance by more than a foot. An updated optical image stabilization system compensates for camera shake up to an equivalent of four full shutter-speed steps, a full step improvement compared to earlier EF 70-300mm lenses. A new fluorine anti-smear coating is applied to the front and rear elements.
The Canon EF 70-300mm f/4-5.6L IS USM lens is expected to be available toward the end of October for an approximate retail price of $1,500.
My Comments
Of the four lenses here, this one grabbed my attention the most. It would seem to be a great lens for big trips like Midway and Antarctica where I always bring a big lens (like the 800mm f/5.6L IS lens) and am then faced with problems meeting the usually tough weight restrictions. It will give folks considerable extra reach beyond the 70-200s. The four-stop IS should be a big boon for hand holders and the minimum focusing distance is a respectable 1.2 meters. It is a twist zoom–I am glad for that– and is a true lightweight at 2.3 pounds. For less serious photographers it will surely be a great travel lens. A big negative is that–just as with the 70-200 f/4L IS that I love so much–you will need to purchase the tripod collar as an option.
Canon EF 300mm f/2.8L IS II USM lens
The Canon EF 300mm f/2.8L IS II USM is the 6th generation of a venerable family of Canon 300mm f/2.8 lenses that began in 1974, and have become famous for their exceptional sharpness, contrast and color fidelity. Ideal for a wide range of applications ranging from professional photojournalism and sports photography to nature and wildlife, Canon’s 300mm f/2.8 lenses have always led the industry with new technical advances in every generation. The EF 300mm f/2.8L IS II USM lens carries on this tradition with improved image quality, lighter weight, improved Image Stabilization and enhanced durability making it a great option for handheld work in the field. The optical formula of the new lens has been upgraded with the inclusion of two fluorite lens elements for improved image quality and reduced chromatic aberration. Helping to reduce arm fatigue, Canon has reduced the overall weight of the lens by 8 percent to 82.9 oz., making it the lightest weight lens in the Canon EF 300mm f/2.8 series. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation and has been enhanced through the incorporation of a rolling-ball-friction system in place of sliding parts in the compensation optics barrel for a minimum-friction structure. The overall durability of the lens has also been enhanced through increased usage of magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches and a new fluorine anti-smear coating applied to the front and rear elements.
The Canon EF 300mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $7,000.
My Comments
For avian photography the 300 f/2.8s have traditionally been seen in the hands of North America’s best raptor photographers, folks like Brian K. Wheeler, Jim Zipp, and Ned Harris. In recent years more and more digital nature photographers have selected the exceptionally sharp lenses in this family as their workhorse telephotos using them on a tripod with their 1.6 multiplier cameras and either the 1.4 or 2X teleconverter. Again the new four-stop IS system should be a big plus along with the 8% reduction in weight. At 5.2 pounds this lens will not be hand holdable for long periods by most folks. I am expecting image sharpness with and without the TC to be breathtaking. I do not know if I will ever get my hands on this one.
Canon EF 400mm f/2.8L IS II USM lens
Quintessential for many sports assignments including baseball, football, soccer and golf, Canon’s professional 400mm f/2.8 lenses provide the light gathering capability and long telephoto reach that photographers need to freeze the action and fill the frame . The Canon EF 400mm f/2.8L IS II USM is the 5th generation in Canon’s 400mm f/2.8 series and the successor to the current EF 400mm introduced in 1999. The new lens has been engineered for the ultimate in optical performance through the use of two fluorite lens elements for improved quality and reduced chromatic aberration. Helping photographers in the field, Canon has reduced the overall weight of the lens by a substantial 28 percent from 189.4 oz to 135.8 oz, making it Canon’s lightest weight 400mm f/2.8 lens ever. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation and has been enhanced through the incorporation of a rolling-ball-friction system in place of sliding parts in the compensation optics barrel for a minimum-friction structure. The overall durability of the lens has also been enhanced through increased usage of magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches and a new fluorine anti-smear coating is applied to the front and rear elements.
The Canon EF 400mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $11,000.
My Comments
I have never been a big fan of the 400 f/2.8s. For folks doing big mammals in low light and working with songbirds from blinds and/or at feeders at close range this lens makes sense, otherwise I stick with what I wrote in the original “The Art of Bird Photography II” too many years ago: “For bird photography always choose a longer slower lens over a faster shorter one.” Reducing the weight of this former behemoth to under 8.5 pounds seems a miracle, one that will leave professional sports photographers smiling big time. Incredible sharpness is a given.
Canon Extender EF 1.4x III & Canon Extender EF 2x III
The two new EF extenders are direct replacements of the current extenders offered by Canon as essential accessories for professionals. These new extenders have been designed to provide faster autofocusing and improved autofocus precision with compatible EF lenses. Each extender includes an anomalous dispersion lens element for reduced chromatic aberration and enhanced optical image quality. Each extender also features a newly developed microcomputer that increases AF precision when the extenders are used with a IS Series II EF super-telephoto lens. Both extenders are equipped with rubber gaskets and seals to enhance weather resistance. A new fluorine anti-smear coating is applied to the front and rear elements of both extenders.
The Canon Extender EF 1.4x III & Canon Extender EF 2x III are expected to be available in December for an approximate retail price of $500 each.
My Comments
Sharper images with faster and more accurate AF; what’s the question? I will be ordering two 1.4X IIIs and possibly a 2X III (the latter if I fall in love with the 70-200mm f/2.8L IS II).
New Lens Features
In addition to an anti-reflection multi-coating, the front and rear elements of all newly announced EF lenses and extenders are treated with Canon’s new fluorine anti-smear lens coating. The fluorine layer is highly oil- and water-repellent so that any oil smears or water droplets on the lens can be wiped off quickly and easily without the aid of solvents using a soft dry cloth. These four new lenses and two new extenders are the first of their type to employ fluorine coating, and it is expected that this new feature will enhance the usability of the lenses during adverse shooting conditions.
The new Series II EF super-telephoto lenses can correct camera shake up to four full shutter speed steps, compared to two shutter speed steps for the original versions. This improvement is made possible by a new low-friction stabilizer mechanism that is not only more efficient than the previous design but also smaller and lighter. Other enhancements to the IS systems of both new super telephoto lenses have enabled quieter operation ideal for use during video capture.
Providing professional sports and wildlife photographers with greater tracking flexibility, Canon has introduced a third Image Stabilization mode option to its new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM lenses. When mode 3 is selected on the lens, the image stabilization effect will not be seen in the viewfinder. When the shutter button is pressed halfway, the lens will begin detecting camera or lens movement and only during exposure, when the shutter is fully depressed, will the Image Stabilization engage and provide the equivalent of four stops faster compensation for blur-free images. The new Mode 3 is particularly useful when a photographer does not want to see the IS working in the viewfinder while tracking a moving subject.
Helping moviemakers achieve smoother and more appealing focus shifts when filming on EOS DSLR cameras, Canon has included a new Power Focus (PF) mode on the Company’s two new super telephoto lenses. This mode allows manual rack focusing to be operated smoothly by turning a playback ring that is normally used for the focus preset function. Both low-speed and high-speed focus shifting are available.
Additionally, a new security slot attachment has been included on both new super-telephoto lenses to allow a wire-type security lock to be easily affixed, a great safety feature for professionals shooting from high vantage points above arenas and crowds.
My Comments
The anti-smear coating can only be a plus especially when working in the rain.
Assuming that the new four-stop IS systems on the various lenses will work as well as this technology does on my beloved EF 800mm f/5.6 L IS lens it will be a great improvement on former systems. And so far, the IS on the 800 has proved durable despite rough handling by yours truly.
I will need to try out IS III in order to voice any opinion.
?? on the Power Focus feature.
The security slot feature sounds great for those standing below the photographer’s position 🙂
I look forward to trying some of the new stuff at the earliest opportunity and will report my findings when I do.
You can follow the BPN thread on the new gear by clicking here.
September 22nd, 2010
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This Chatham (or Cristobal) Mockingbird was photographed with the hand held Canon 400mm f/4 IS DO lens, the 1.4X II TC, and the EOS-1D Mark IV. ISO 800. Evaluative metering +2/3 stop: 1/1000 sec. at f/9. I went to a high ISO to maintain both a high shutter speed while hand holding at almost 17X and to provide a bit more depth-of-field.
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Galapagos Day 11/July 16, Morning, Punta Pitt, San Cristobal Island
After our wet landing the folks who were ready quickly had a fair chance with this new-to-all mockingbird species. I was busy powdering my toes. On our way up to the view point at Punta Pitt we came to a rock ledge in the lee where a variety of landbirds including the handsome mockingbird were flitting around in the bush-tops just below us. I had a pretty good image lined up when someone in the group scared it off by trying to get closer; some days are diamonds….
When we made it up to the view point there were some lovely scenic opportunities available but as fate would have it the sun broke through the fog and we were toast. It was a bummer as there was lots of beautiful red vegetation and some great jumbles of yellow toned rocks. In spite of the bright sun, I made some images. The best–though not very good–is immediately below.
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This was the scene before us when we arrived at the view point. With the bright sun, the contrast was just too great to create anything pleasing. Robert O’Toole processed this image and I believe that he made three conversions and ran them through Photomatix to create an HDR image. I used the Canon 10-22mm zoom lens and the EOS-7D hand held at 22mm. ISO 200. Evaluative metering -2/3 stop: 1/400 sec. at f/8.
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Thanks to Kevin Watson for the loan of the 10-22. The EF-S 10-22 f/3.5-4.5 USM Autofocus lens is designed as a true wide angle for cameras like the 50D and the 7D with their small APS-C sensors. It will give you the same 16-35mm coverage as the traditional wide angle zooms.
Not happy with the image I brought it into Photoshop and tried a variety of filters in an effort to come up with the HDR/grunge look type images that Denise Ippolito has been creating recently. You can check this style out in her September 19th blog post here. I could not reach Denise by phone last night for guidance so my efforts failed. While playing with the filters, however, I came up with the image below. What fun!
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I created this one with the Stained Glass effect that can be brought up as follows: Filter/Texture/Stained Glass. Then I darkened the “sky” a bit with a Quick Mask and Control M (curves on a layer). I like the child-like look.
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I was working on this post late last night for about an hour and due to a snafu lost everything despite the fact that Word Press runs auto back-ups almost constantly. Being a lover of what is I bagged my efforts and concentrated on the episode of the 2010 World Series of Poker that I was watching. When Denise called me this morning she coached me on getting the grunge look using Photoshop filters so I gave it a try. The resulting image is below. Thanks Denise!
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I followed Denise’s directions to a “T” and then added a few twists of my own.
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Do let me know if you like or hate either the stained glass or the grunge look image. You can check out a fourth version of this image (created by BPN member Dan Brown) here.
Discouraged by the sun I decided–with Juan’s permission–to head back down the hill and try for the mockingbird again at the ledge in the lee. (It was quite windy that day.) When the bird sat on the cliff edge and sang for me alone I created the opening image in this blog post. Justice had prevailed, my effort was rewarded, and my desires met.
Shopper’s Guide
Here is the gear that I used hand held at Gardner Bay that afternoon:
Canon EF-S 10-22 wide angle zoom lens
Canon 400mm f/4 IS DO lens
Canon EOS-1D Mark IV professional digital camera body
Canon EOS-7D
Canon EF Teleconverter 1.4X II
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.
September 20th, 2010
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It took me several hours to design the cover for the Blur Guide. You can see another version and learn what others think about the cover here. Feel free to let us know what you think of the cover by making a comment below.
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A Guide to Pleasing Blurs by Denise Ippolito & Arthur Morris
Denise and I have been working on the Blur Guide for too many months. It should be available for purchase at the end of this week. I am waiting for my Acrobat 10 CD to arrive 🙂 If you enjoy trying to create pleasingly blurred images, the blur guide is for you. We cover both in-camera and Photoshop techniques, from pan blurs to wind blurs to flash blurs to composite blurs to camera shake blurs to radial blurs and on and on and on…. Our subject matter ranges from birds to flowers to wildlife to water and scenics and more. We will announce its publication both here and via Bulletin.
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I created this slow shutter speed/moving water blur on the recently concluded Bear Boat IPT. Canon 800mm f/5.6L IS L lens with the EOS 1D MIV. ISO 200. Evaluative metering +1 stop: 1/4 sec. at f/20.
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BAA Bulletin #338
BIRDS AS ART Bulletin #338 is on line now and can be viewed here. It includes some of my very favorite new bear boat images as well as the trip report.
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This image of a Bald Eagle landing was created with the 70-200mm f/2.8L IS lens and the 1.4X II TC (hand held at 225mm), and the EOS-1Ds MII. ISO 400. Evaluative metering +2/3 stop: 1/1600 sec. at f/5 set manually.
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HOMER BALD EAGLE INSTRUCTIONAL PHOTO-TOUR
Because of a cancellation, there is a single opening on this jointly led IPT: HOMER BALD EAGLE INSTRUCTIONAL PHOTO-TOUR with Arthur Morris and Robert O’Toole. March 18-22, 2011. 5-FULL DAYS: $3249. Limit: 12 (Including the leaders). All three Homer IPTs sold out within hours after being announced to the BAA Friends List. The Friends List consists of IPT veterans who fit in the happy camper category. If you have been on an IPT and/or you are a truly happy camper and would like your name added to the BAA Friends List, please e-mail me at birdsasart@att.net and include a short note.
Enjoy Homer the way it used to be with two great leaders and more eagles than you could have ever dreamed about many at point blank range. Sessions on boat and on land. Legal eagle feeding. The best Photoshop instruction anywhere.
Happy campers only please 🙂 If you would like to fill this last slot please call me asap at 863-692-2806 and leave a message if no answer. I am posting this here first as a thank you to the many folks who subscribe to the Blog and visit regularly.
September 19th, 2010
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This Galapagos Sea Lion pup was photographed with the hand held Canon 70-200mm f/4L IS lens at 185mm and the EOS-1D Mark IV. ISO 1000. Evaluative metering +1 2/3 stops: 1/320 sec. at f/6.3 in Tv Mode. I got downy on my belly to give the image an intimate feel and to provide a sweet background to go with the sweet light. When hand holding I will often work in Tv Mode to ensure a minimum shutter speed as I did here. I use the ISO Safety Shift custom function as described in the MIV User’s Guide. To learn about User’s Guides for the MIII and the 7D, click here.
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Galapagos Day 10/Afternoon, July 15: Gardner Bay, Hood Island
With more than 200 Galapagos Sea Lions with pups ever-present during July along with bands of marauding young Hood Mockingbirds on the loverly white sand beach, the afternoon landing at Gardner Bay is always a favorite of mine and of the group You can go barefoot and bring just a short telephoto zoom if you like but I always bring a big lens for the mockingbirds and for the other land birds that often can be found foraging where the beach meets the vegetation; edge habitats are always worth exploring when you are looking for birds to photograph. (I was being a bit lazy that afternoon and brought the 400 DO rather then the tripod-mounted 800….)
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Here is an image of Denise Ippolito playing in the sand box with some of her new friends at Gardner’s Bay. Canon 70-200mm f/4L IS lens hand held at 176mm with the EOS-1D MIV. ISO 400. Evaluative metering +1 2/3 stops: 1/1000 sec. at f/5.6. Note the kneeling photographer from my group in the upper right hand corner of the image photographing land birds at the top of the beach.
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When working with short telephoto focal lengths it is imperative to get down to the subject’s eye level as Denise did above. Pointing your lens almost straight down at a subject works only rarely. Denise is photographing the same pup that is the subject in the opening image above. When we first landed everyone thought that it was abandoned and near death; Juan and I assured them that it was just resting. In a short time it was frolicking about the beach. Its mom was likely out to sea fishing.
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This clean, simple image was created with the same 70-200/MIV rig this time with the 1.4X II TC to give me 235mms of reach. ISO 50–I had been set up for Blurs and forgotten to re-set a higher ISO. Evaluative metering +2 stops: 1/30 sec. at f/10 set manually. I love the soft light and the clean sand.
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Note the incredible difference in the quality of the light in the image above as compared to the quality of the light in the opening image. I like both the warm light in the first one that was created just before sunset and the soft, subdued, detail-revealing light in the image immediately above that was created when a big cloud covered the sun.
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This image of feisty Hood Mockingbird was created with hand held Canon 400mm f/4 IS DO lens and the EOS-1D MIV. ISO 400. Evaluative metering +2/3 stop in full sun: 1/3200 at f/5.6.
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We had just landed when boom, the young mockingbirds were duking it out big time. They travel in packs of three or four each group looking to kick the snot out of the other group. Never fails…..
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Same subject, same gear. ISO 400. Evaluative metering +2/3 stop in even brighter sun: 1/5000 at f/5.6.
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Shopper’s Guide
Here is the gear that I used hand held at Gardner Bay that afternoon:
Canon 70-200mm f/4 l IS lens
Canon 400mm f/4 IS DO lens
Canon EOS-1D Mark IV professional digital camera body
Canon EF Teleconverter 1.4X II
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.
September 17th, 2010
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This Waved Albatross was performing the bill-clacking portion of its intricate courtship dance. The image was created with the Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 400. Evaluative metering +2/3 stop: 1/1600 sec. at f/7.1. A vertical pano crop was chosen to eliminate it’s dancing partner from the left side of the frame.
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Galapagos Day 9/July 15, Afternoon, Punta Suarez, Hood Island
The morning landing at Punta Suarez, Hood Island (Espanola) is always one of the photographic highlights of a good Galapagos cruise and this morning would be prove to be no exception. Several years ago the (Galapagos) National Park Service began offering the best itineraries to the larger cruise ship lines with their 90-100 passenger groups and foreign crews while effectively punishing the smaller, successful boats with local crews by eliminating some of the plum locations from their itineraries to make them available to the big boys. As it turned out, the park service’s action led directly to the development of the two week trip BAA Photo-Cruises that now ensure that participants will get to visit all of the prime photographic locations.
As always at Punta Suarez the Waved Albatrosses were the stars of the show with their courtship dances, small to medium-sized chicks, and incredible flying abilities. Did I mention that they are amazingly tame and accepting of humans? Hood is home to all but a very few (in some years) of the world’s breeding population of this species. In addition we had some good chances with Swallow-tailed Gull, Red-billed Tropicbird, Blue-footed Boobies nesting on the white sand paths, Nazca Booby, and Marine Iguana. We finished the morning off with a completely tame adult Galapagos Hawk that let the entire group approach for head portraits.
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This photograph of a banking Waved Albatross was made with the handheld Canon 400mm f/4 IS DO lens and the EOS-1D MIV. ISO 400. Evaluative metering +1 2/3 stops of the light gray sky: 1/1000 sec. at f/7.1 set manually.
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This Waved Albatross sat placidly on its single chick flanked by a phalanx of colorful Marine Iguanas. I used the 70-200mm handheld at 200mm with the EOS-1D MIV. ISO 400. Evaluative metering -1 2/3 stops: 1/1000 sec. at f/5.6 in Manual mode. After framing carefully, the trick here was to set an exposure that left a very few easily recoverable flashing pixels on the head of the albatross. Doing that ensured maximum detail in the dark skin of the iguanas. The look-back head turn was an added bonus.
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This image of a banking Swallow-tailed Gull was created as a vertical original with the handheld 400mm f/4IS DO lens and the EOS-1D MIV. ISO 400. Evaluative metering plus 1 1/3 off the white sky: 1/1600 sec. at f/6.3 set manually. If you are trying to photograph birds in flight in horizontal format but the birds keep getting too big in the frame when they bank it is time to turn the camera on end and go for the vertical bank shot.
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This adult Galapagos Hawk bird was the icing on the cake that was our 5 1/2 hour Tower walk. The image was created with the Canon 800mm f/5.6L IS lens, the 1.4X II TC, a 25mm Extension Tube to allow for closer focusing, and the EOS-1D MIV. ISO 400. Evaluative metering -1/3 stop: 1/250 sec. at f/7.1 set manually. With that large very dark head filling the center of the frame I needed a bit of negative exposure compensation to keep from burning the light yellow bill.
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After lunch, a short nap, and a snorkel we grabbed our gear for the wet landing at Gardiner Bay still on Tower Island. This spot with its 1/4 mile long white sand beach is the premier location in the world for photographing Galapagos Sea Lion; more than 200 of them can be found dozing and swimming and arguing and playing most days during July.
Shopper’s Guide
Here is the gear that I used on our great morning at Punta Suarez:
Canon 70-200mm f/4 l IS lens
Canon 400mm f/4 IS DO lens
Canon 800mm f/5.L IS lens
Canon EOS-1D Mark IV professional digital camera body
Canon EF Teleconverter 1.4X II
Canon EF 25mm Extension Tube
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.
September 14th, 2010
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This California Brown Pelican was photographed with the Canon 600mm f/4L IS lens, the 2X II TC, and the Canon EOS-1D Mark II. ISO 400. Evaluative metering -1/3 stop: 1/1000 sec. at f/11.
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San Diego’s Brown Pelicans
The California race of Brown Pelican with its flaming red bill pouch is one of my favorite photographic subjects. In this post you will find a baker’s dozen reasons to join the San Diego IPT early in 2011. And here is a great 14th reason: send a check or call Jim at the office to register (863-692-0906), mention the Blog, and have a $302 discount applied to you balance.
Here are the details:
SAN DIEGO IPT: JAN 19-23, 2011. Slide program on the evening of JAN 18. 5 Full Days: $2399 (Limit 8/Openings 7)
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 on the web site or in any Bulletin.
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California Brown Pelican preening. Canon 600mm f/4L IS lens, the 1.4X II TC, and the Canon EOS-1Ds Mark II. ISO 400. Evaluative metering at zero: 1/2000 sec. at f/5.6.
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California Brown Pelican in flight. Canon 100-400mm IS L lens hand held at 100mm with the EOS-1D Mark II. ISO 400. Evaluative metering +2/3 stop: 1/3200 sec. at f/5.6 set manually.
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California Brown Pelican skating down to land. Canon 300mm f/4L IS lens hand held with the EOS-1Ds. ISO 250. Evaluative metering +1/3 stop: 1/4000 sec. at f/4.
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California Brown Pelican in flight, wave breaking on high cliff. Canon 70-200mm f/4L IS lens hand held at 108mm with the EOS-7D. Evaluative metering +2 stops off the white sky: 1/500 sec. at f/5.6.
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California Brown Pelican Fractalius. Canon 70-200mm f/4L IS lens hand held at 208mm with the EOS-7D. Evaluative metering +1/3 stop: 1/1250 sec. at f/8.
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California Brown Pelican, head throw. Canon 300mm f/4L IS lens hand held with the EOS-1Ds. ISO 250. Evaluative metering +1/3 stop: 1/2000 sec. at f/4.
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California Brown Pelican, braking to land. Canon 500mm f/4L IS lens with the EOS-1Ds Mark II. ISO 500. Evaluative metering +1 stop: 1/500 sec. at f/4 set manually.
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California Brown Pelican, preening. California Brown Pelican, resting. Canon 500mm f/4L IS lens with the 2X TC and the EOS-1Ds Mark III. ISO 400. Evaluative metering +1 stop: 1/500 sec. at f/4 set manually.
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California Brown Pelican, resting. Canon 500mm f/4L IS lens with the 2X TC and the EOS-1Ds Mark II. ISO 640. Evaluative metering +2/3 stop: 1/250 sec. at f/13 set manually.
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California Brown Pelican, stunning breeding plumage. Canon 600mm f/4L IS lens with the 1.4XII TC and the EOS-1Ds Mark II. ISO 250. Evaluative metering at zero: 1/640 sec. at f/8.
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California Brown Pelican, orange variant bill pouch. Canon 500mm f/4L IS lens with the 1.4XII TC and the EOS-1D Mark II. ISO 200. Evaluative metering at zero: 1/1600 sec. at f/5.6.
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California Brown Pelicans on cliff. Canon 100-400mm IS L zoom lens lens with the EOS-1Ds Mark II. ISO 250. Evaluative metering +1/3 stop: 1/160 sec. at f/4.5 set manually.
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September 12th, 2010
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This out-of-the-box, back-of-the-head image of a Blue-footed Booby was created with the Canon 800mm f/5.6L IS lens, the 1.4X II TC, and the EOS-1D MIV. ISO 400. Evaluative metering +2/3 stop: 1/250 sec. at f/8. Sometimes pushing the shutter button when other photographers would fail to do so can help you to create some interesting and often abstract images.
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Galapagos Day 9/July 14, Afternoon, Punta Cormorant, Floreana
After making the wet landing on a green sand beach along the southern shore of Floreana, Juan went ahead and checked the lagoon for flamingoes. Nada. Several of us–including me–opted to hang out on the beach and photograph while the rest of the group took a short walk to the rather scenic white sand beach just up and over a steep hill. There were two Blue-footed Booby nests on bluff above the beach, but they were difficult to photograph. Without many subjects to photograph I went way out of the box for the next two hours, shared my creations with those who stayed behind, and had lots of fun.
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I created this wind-blurred image of Floreana Daisies with the Canon 800mm f/5.6L IS lens and the EOS-1D MIV. ISO 100. Evaluative metering +2/3 stop: 1/3 sec. at f/16 set manually. I composed so that the single protruding blossom on the upper edge was as off-centered as possible while still including the oval spray of about ten blossoms right center (with a border).
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Denise Ippolito and I are nearly finished our Guide to Pleasing Blurs. We hope to have it available for purchase in about two weeks. It’s release will be announced both here on the Blog and via Bulletin. It will really open up your creative mind while providing you with the practical how-to info that you will need to learn to make a wide variety of pleasingly blurred images.
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After playing with the wind blurs and the same stand of flowers I tried some vertical pans but those did not work at all. (Blurs tend to look better on the back of the camera than on the computer so if they look crummy on the camera’s LCD it is usually best to try another tack.) I followed those efforts up with a few twirl blurs. They showed some promise. I liked the way that this one looked with a 90 degree counter-clockwise rotation: the black rocks were actually below the stand of flowers. The image was created with the same gear that was used for the image above. ISO 200: 1 sec. at f/25. I simply loosened the tripod collar and rotated the lens during the exposure. As with all blurs, it pays to make lots of images while experimenting.
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I tried some horizontal pans with a nice Sally Lightfoot crab on a lava rock but those too failed so once again I went to the twirl, something that I rarely do. As usual, there was one that I liked best. Again, it was created with the 800/MIV combo. ISO 160. Evaluative metering at zero: 2 seconds at f/18 while rotating the lens slowly in the tripod collar.
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Shopper’s Guide
Here is the gear that I used that afternoon on Floreana.
Canon 800mm f/5.6L IS lens
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.
September 11th, 2010
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This image of a coastal Brown Bear chowing down on a salmon was created with the Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 800. Evaluative metering +1 2.3 stops: 1/160 sec. at f/5.6 set manually. I continually reminded my group that to obtain maximum detail in the dark fur of the bears that they needed to push the histogram as far to the right as possible without producing any un-recoverable highlights.
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Back From the Bear Boat
The (wonderful) group flew by float plane from the bear boat in Katmai National Park to Kodiak on Friday morning and continued on to Anchorage on an ERA flight that afternoon. From there Monte Brown and I flew on an American Airlines red-eye to Dallas arriving at 5:10 am. He headed home on a flight to Indianapolis while I continued on another AA flight, this one arriving in Orlando just after 11am. After a stop at Publix for egg plant and chicken I made it home by about 1:30.
I slept almost the whole way on the red-eye and for another 90 minutes on the DFW/MCO leg yet when I arrived home I was a bit zonked from jet lag. After a nice nap I have been posting some images from the trip in various critique forums on BPN. I will be home for at least a while and will be positing here almost daily.
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That’s my good friend and student Monte Brown photographing a coastal Brown Bear (aka grizzly) with a short hand held lens. As the image was made with my 800 lens the elements of the composition are much compressed. Monte was not anywhere as close as he looks to the bear. That said, these huge creatures are amazingly docile and can be incredibly gentle with their cubs. The blood on the animal’s maw here is salmon blood 🙂
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If you would like to explore the possibility of joining Robert O’Toole and me on a bear boat trip early next August please e-mail to have your name placed on the interested list.
Shopper’s Guide
Here is the gear that I used for many of my bear boat trip images including the two above:
Canon 800mm f/5.6L 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.
September 3rd, 2010
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This approximately 20 year old Galapagos Tortoise is a relative youngster; it is likely that many of these animals live to more than 150 years in the wild. I photographed this captive tortoise with the handheld Canon 70-200mm f/4L IS lens, the 1.4X II TC, and the EOS-1D MIV. ISO 800. Evaluative metering +1 stop: 1/160 sec. at f/6.3. Unless you are able to solidly brace your rig when handholding even a medium telephoto lens it is imperative to be in AI Servo AF (C for Nikon) rather than One-Shot (S for Nikon). Why? If you are using One-Shot AF and your position shifts just slightly your image will not be accurately focused.
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Galapagos Day 9/July 14, Morning: Floreana Highlands
We sailed overnight to Floreana and made a dry landing on the northwestern shore of the island. We boarded a chiva, an open truck with four bench seats and drove up into the highlands. On our way to the Peace Asylum facility we made a stop for finches. We saw several species including Medium Tree Finch but photography was difficult at best. Once we arrived at the tortoise shelter we took a short hike up a hill and entered the concrete-walled enclosure; there were about 65 tortoises on the several acre plot. They are kept only for educational purposes only never to be bred or be released back into the wild. Why? Biologists are–at present–attempting to keep each island’s subspecies as pure as possible. The giant reptiles were much easier to approach than those living in the wild so we were able to make tight close-ups with even the 70-200 lenses.
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I used the fish eye lens and Live View to create this image of a captive tortoise at the Peace Asylum; though the animals are much more tame than those in the wild it was still important to get low and move very slowly. Canon 15mm fish eye lens handheld with the EOS-1D MIV. Live View. ISO 400. Evaluative metering -1/3 stop: 1/200 sec. at f/5.6. To learn to use Live View for nature photography with either the Mark IV or the EOS-7D check out our Mark IV and 7D User’s Guides.
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After our photography session Juan gave a rather interesting history lesson on some of the early inhabitants of Floreana. Then it was lunch and a short navigation to our afternoon landing.
Shopper’s Guide
Here is the gear that I used that morning at the Peace Asylum Sanctuary:
Canon 70-200mm f/4 l IS lens
Canon EF Teleconverter 1.4X II
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 Shopper’s Guide.
September 2nd, 2010
My Tortoise Head Portrait Opinion
Thanks to all who participated. Opinions were divided as to which was the stronger image, the straight on view or the side view. Some folks were rather adamant in defending their choice. I initially thought that the right down the lens barrel image was stronger, then gravitated to feeling that the side view was more powerful. And right now as I sit typing in the Orlando Airport on my way to Alaska to photograph Coastal Brown Bears (grizzlies) eating salmon, I like them both equally 🙂
BAA Bulletin 336
BAA Bulletin 336 is on line and can be accessed here. Thanks as always to Peter Kes!
I will be working on a new Bulletin that will hopefully go out tomorrow. After Saturday morning I will be without phone or internet access for a week. You can sign up for Bulletins by clicking on the link on the BAA home page or the manage your subscription link in any Bulletin.
Here are the features in Bulletin #336:
LONG ISLAND TRIP & JBWR/NICKERSON BEACH IPT REPORT
THE GROUP
IPT KUDOS
BOSQUE & SOCORRO SUPER 8 UPDATES
ALAN MURPHYS “Guide to Songbird Set-up Photography”
DELKIN LPE6 BATTERY FOR THE CANON EOS 5D & 7D CAMERA BODIES
POSSE NEWS/TODD GUSTAFSON
THE BIRDS AS ART BLOG
HUNT’S SPECIALS
IPT DATE UPDATES
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Is this a good head angle or a poor head angle? To learn the answer and see the animated GIF that will educate you, click here and scroll down to Pane 89. A new quiz begins in Pane 97.
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BPN Head Angle Threads/An Education
If you are confused by head angles issues, check out the following BPN threads:
Head Angle Police (HAP) Tutorial
Head Angle Philosophies
And last but most fun, Head Angle Fine Points There are multiple quizzes in this thread and it will continue for quite some time at least 🙂 To learn the most, start from the beginning, take each quiz, and then see how you did.
Be safe, have fun, and breathe deep. If I do not see you tomorrow I will see you when I get back from Alaska.
August 28th, 2010
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This Galapagos Tortoise head portrait was photographed during a very light drizzle with the tripod-mounted Canon 800mm f/5.6L IS lens and the EOS-1D MIV. ISO 400. Evaluative metering +2/3 stop: 1/20 sec. at f/16. I used One-Shot AF after selecting a sensor that covered the eye.
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Which Is the Stronger Image, and Why?
Let’s call the image above “Head On” and the image below “Side View.” Post a comment and let me know which image you feel is stronger and why.
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This is the same animal photographed with the same gear. Also ISO 400. And again, Evaluative metering +2/3 stop: 1/8 sec. at f/22. Only for this one I used Mirror Lock with the 2-second timer.
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Shopper’s Guide
Here is the gear that I used on Puerto Ayora that day:
Canon 800mm f/5.6L 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
August 27th, 2010
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This Galapagos Tortoise was photographed in soft, misty light with the tripod-mounted Canon 800mm f/5.6L IS lens and the EOS-1D MIV. Evaluative metering +1 stop: 1/100 sec. at f/8. If you remain still these ancient animals will come completely out of their shells and show off their long necks.
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Galapagos Day 8/July 13:Puerto Ayora: tortoises and landbirds
After our dry landing at Puerto Ayora, the largest city in the Galapagos, we boarded a bus for the 30 minute ride to the Primicias Ranch. I believe that this property is a combination of private and national park holdings. Located in the highlands, the rich habitat is attractive to large numbers of the large tortoises; as the animals are wild they are free to travel the highlands in search of the best grazing areas. They do move down towards the coast during the breeding season. In addition to the almost prehistoric reptiles, large numbers of landbirds can be found on the ranch many close to the cafe/visitor center, and many respond eagerly to spishing.
Juan shared his vast knowledge of the tortoise’s biology and ecology and I educated the group on the best manner of approaching them: low and slow. As is typical, the morning was misty with drizzle and provided ideal light for both the tortoise and passerine photography. After several hours of very good photography a short bus ride down the hill brought us to a spectacular lunch at Galapagos Magic. There were fewer tortoises than in 2009 but several group members ventured into the wet fields for some more photography. I napped peacefully in a hammock.
By about 3pm we were back in town. A few folks went back to the dock while most opted to call home from the cabina and a nice shopping walk in downtown Puerto Ayora. At the far end of town, I found a very nice upscale shop that contrasted mightily with the countless tourist-schlock t-shirt places. Some loverly palm nut carvings caught my eye but I did not bite. On the way back to the wharf Denise and I ran across the Whites and the Owens and chatted with them through the open window of a sidewalk cafe. I told them about the shop and we all returned. Jim and Linda and Sir Richard and Dot purchased many items including several large woven bowls that they had shipped home. And I would up buying five small carved ivory nut figurines: tropical fish for daughter/s Alissa and Jen, another for my younger sister Arna, a hummingbird array for my Mom, and an exquisite frigatebird for my own knick-knack shelf. Denise and I made it back to the ship but the others stayed on in a shopping frenzy and had to take a water taxi back to the Beagle. They arrived just in time for dinner.
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This male Small Ground Finch image was created with the tripod-mounted Canon 800mm f/5.6L IS lens, a 25mm Extension tube, and the EOS-1D MIV. ISO 400. Evaluative metering +2/3 stop: 1/100 sec. at f/8. The 800’s new IS system is remarkable allowing those with good sharpness techniques to utilize ridiculously slow shutter speeds as long as the subject is motionless.
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This female Medium (?) Ground Finch image was created with the same rig as above. ISO 400. Evaluative metering +2/3 stop: 1/250 sec. at f/5.6. You can learn about Darwin’s Finches and adaptive radiation here.
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Thanks to Denise Ippolito for the use of this image of a stretching immature Small Tree Finch. It was created on Puerto Ayora with the Canon 500mm f/4L IS lens, the 1.4X II TC, a 25mm Extension tube, and the EOS-1D MIII. Denise located a small bare bush where several species of finches sat preening spot. She was soon joined by others in the group 🙂 Check out Denise’s blog, A Creative Adventure and be sure to scroll down to her well written July 22nd post, “My Galapagos Adventure.”
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This rain-bathing Groove-billed Ani was also photographed with the Canon 800mm f/5.6L IS lens, a 25mm Extension tube, and the EOS-1D MIV. ISO 400. Evaluative metering +1/3 stop: 1/100 sec. at f/8.
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This singing male Galapagos Yellow Warbler was photographed with the Canon 800mm f/5.6L IS lens, the 1.4X II TC, a 25mm Extension tube, and the EOS-1D MIV. ISO 400. Evaluative metering +2/3 stop: 1/125 sec. at f/9. Amazingly, this bird sat in the same spot for almost two full minutes, an eternity for a warbler.
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Shopper’s Guide
Here is the gear that I (and Denise) used on Puerto Ayora that day:
Canon 800mm f/5.6L IS lens
Canon 500mm f/4L IS lens
Canon EOS-1D Mark IV professional digital camera body
Canon EF Teleconverter 1.4X II
Canon EF 25mm Extension Tube
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
August 23rd, 2010
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This Whimbrel was photographed in soft, misty light with the Canon 800mm f/5.6L IS lens and the EOS-1D MIV. Evaluative metering +1 2/3 stops: 1/500 sec. at f/5.6. This tame bird gave us many good chances. We first spotted it swallowing a small octopus. Sorry: no photos of that :).
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Galapagos Day 7/July 12: Volcano Hike and Peurto Villamil Beach Walk
After a late breakfast at 6:30am. we made a dry landing at the pier in Peurto Villamil. Most of the group took a bus ride and a hike to the top of the Sierra Negra volcano and were fortunate to see the caldera when the clouds and the mist cleared. With my left hip syill bothering me, a stubbed toe, and a cramped left calf I opted for a beach walk with Michael Yessik and Christine Doyle. We were scarcely 50 yards from the wharf when we came across two young male Yellow Warblers battling on the road. They seemed to be locked in struggle to the death at one point but both eventually flew off seemingly none the worse for wear.
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Canon 800mm f/5.6L IS lens, 25mm Extension tube, and the EOS-1D MIV. Evaluative metering +1 stop: 1/640 sec. at f/6.3. We tried in vain to create a good image of the two birds tumbling through the air a foot above the dirt road…
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Juan had told us about a wetlands boardwalk near the Iguana Crossing Hotel. We found it easily. We spotted a distant flamingo but our only photo opps were with some White-cheeked Pintails.
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To create this tight head portrait of a feeding drake White-cheeked Pintail I lay down on the boardwalk with the Canon 800mm and the EOS-1D MIV. ISO 400. Evaluative metering +2/3 stop set manually: 1/640 sec. at f/8 in cloudy bright conditions.
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After our visit to the mangrove lagoon, I walked back along the beach in “soup from a stone mode.” Below are my favorites from that walk.
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This Marine Iguana blur was created with the Canon 70-200mm f/4L IS lens with the 1.4X II TC handheld at 215mm and the EOS-1D MIV. ISO 50. Evaluative metering +2/3 stop: 1/4 sec. at f/45 in Tv mode for complete control of shutter speed. I took lots of these and kept only one 🙂
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This something-out-of-nothing image was created with the Canon 70-200mm f/4L IS lens handheld at 235mm) and the EOS-1D MIV. ISO 400. Evaluative metering +1 stop: 1/250 sec. at f/16. I created lots of horizontals and lots of verticals. Both worked and were pretty much interchangeable.
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Patterns in wet sand was created with the Canon 70-200mm f/4 IS L lens handheld at 135mm with the EOS-1D MIV. ISO 400. Evaluative metering +1 stop: 1/800 at f/11. Good images are where you see them 🙂 Note the Rule of Thirds image design.
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And finally, one for the whimsically minded: Marine Iguana painting on pink wall 🙂 This image was created with the Canon 70-200mm f/4L IS lens handheld at 169mm with the EOS-1D MIV. ISO 100. Evaluative metering +1 stop: 1/200 sec. at f/6.3. (I eliminated a window on the right frame edge with a series of Quick Masks.
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After lunch, we began the long navigation to Puerto Ayora so that we could all get a good night’s rest before our day with the tortoises. Both Denise and I did lots of Photoshop with some of the participants on the voyage.
Shopper’s Guide
Here is the gear that I used that afternoon at Urbina Bay:
Canon 70-200mm f/4 l IS lens
Canon 800mm f/5.6L 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 Shopper’s Guide
August 19th, 2010 Galapagos Day 6/Afternoon, July 11: Punta Moreno, Isabella
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This Greater Flamingo bird-scape was created with the Canon 70-200mm f/4L IS lens (handheld at 70mm) and the EOS-1D MIV. ISO 200. Evaluative metering -1/3 stop: 1/500 sec. at f/10. When creating bird-scapes I generally determine the correct exposure, set it manually, focus on the bird using One-Shot central sensor AF, and then recompose to come up with a pleasing composition with sharp focus on the bird.
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After a dry landing , our two mile walk over somewhat dicey lava fields brought us to several ponds, one with two photographable Greater Flamingos in it. (The second bird in the image above was covered with a Quick Mask.) Juan educated the group as to the colonizing cacti and other vegetation. The vast lava fields were formed less than 1,000 years ago. As you will see below, we photographed the cacti in a variety of manners.
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This Candelabra Cactus is the same cactus as in the birdscape above. The image was created with the Canon 800mm f/5.6L IS lens and the EOS-1D MIV. ISO 200. Evaluative metering +1/3 stop: 1/1600 sec. at f/5.6. The relatively dark background here (that makes the image for me) was the side of a distant volcano. There are six volcanoes on Isabella.
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This Prickly Pear Cactus image was also created with the Canon 800mm f/5.6L IS lens and the EOS-1D MIV. ISO 50. Evaluative metering -1 stop: 1/320 sec. at f/16. I love silhouetting a variety of subjects against the brilliant flashing highlights created when a relatively strong sun strikes the water. For more on creating what I call “11am silhouettes” see page 530 in The Art of Bird Photography II (916 pages on CD only)..
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After our lava walk we took a short panga ride and had some decent chances with nesting Flightless Cormorants. Then it was back to the Beagle for yet another great dinner. And sleep.
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This Flightless Cormorant is gular panting; it helps with thermo-regulation. The image was created with the Canon 800mm f/5.6L IS lens and the EOS-1D MIV. ISO 400. Evaluative metering +1 1/3 stops: 1/500 sec. at f/6.3. Remarkably, I was able to set up my tripod low in the bow of the panga for a short photo session.
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Shopper’s Guide
Here is the gear that I used that afternoon at Urbina Bay:
Canon 70-200mm f/4 l IS lens
Canon 800mm f/5.6L 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 Shopper’s Guide
August 14th, 2010 Galapagos Day 6/Morning, July 11: Elizabeth Bay
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This Bryde’s Whale image was created with the Canon 70-200mm f/4L IS lens (hand held at 129mm) with the EOS-1D Mark IV. ISO 400. Evaluative metering +1 stop: 1/1000 sec. at f/8. I used the lowest focusing sensor in the middle to get the whale down in the frame just as I do with small in the frame ducks. The bird are Galapagos Shearwaters. If the wind had been in the opposite direction the birds would have been flying in the same direction as the whale was swimming. Alas.
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Our morning at Elizabeth Bay was a magical one filled with penguins, a single Bryde’s Whale, thousands of Galapagos Shearwaters, and a few Brown Pelicans and Blue-footed Boobies. We were pretty much surrounded by volcanoes. The sun peeked through two layers of cloud just as we approached the penguins; very high ISOs were needed due to the low, sweet, yellow light. There was not a breath of air so once the sun disappeared the misty, foggy conditions heightened the sense of magic and mystery. Juan put us in good position to photograph the whale several times but unfortunately it never fed on the surface as it had done spectacularly the previous evening when it had been simply too dark for photography.
We thought that we had finished our morning off with another snorkel in frigid waters, this one with large schools of Peruvian Grunt and about twenty Pacific Green Sea Turtles. As we all boarded the panga we saw (and soon smelled–and I mean smelled!) the whale blow. Juan tried to position the panga close enough to the whale so that we could get back in the water and swim with it. Part of me hoped that he would succeed and part of me–the very cold part–hoped that he would not. He did not. The last time that we saw the whale it surfaced at the corner of the nearby islet in the exact spot that the panga had picked us up from just fifteen minutes before….
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This Galapagos Penguin was photographed at 6:14 am with the handheld Canon 400mm f/4 IS DO and the EOS-1D MIV. ISO 2500. Evaluative metering plus 2/3 stop: 1/500 sec. at f/4 in Tv Mode with ISO Saftey Shift enabled to ensure the chosen shutter speed.
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As I was making the image above, I noticed this penguin pair resting on gorgeous red rock so I had Juan move the panga into position. This image was created at 6:20 am just as the sun began to fade behind a fog bank. I used the same gear as for the previous image: ISO 2000. Evaluative metering -2/3 stop: 1/320 sec. at f/5.6. This image was optimized by Robert O’Toole who did a lot better with the color than I did. Thanks Robert.
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Galapagos Shearwater had been lumped with Audubon’s Shearwater until it was recognized as a separate species several years ago. With the uneven patterns of the upperparts this bird is likely an immature. I created this image with the hand held Canon 400mm f/4IS DO lens with the EOS-1D Mark IV. ISO 500. Evaluative metering +1 stop: 1/800 sec. at f/6.3. The 400 DO is a great tool to use when you are photographing from a boat.
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Safe on Long Island
I am laying on the couch at my Mom’s home in Holbrook, Long Island (having flown from Orlando to Islip yesterday morning. I am spending time with my younger sister Arna and with my younger daughter Alissa and her kids, my northern grandkids). All the while rooting for Tiger in the PGA. I will be getting out to photograph tomorrow morning and then most days after that at Jamaica Bay WR and Nickerson Beach until I head back to Orlando on August 25th. Have lots of private day clients and an IPT. 🙂
Shopper’s Guide
Here is the gear that I used that afternoon at Urbina Bay:
Canon 70-200mm f/4 l IS lens
Canon 400mm f/4 IS DO lens
Canon EOS-1D Mark IV professional digital camera body
Canon EF Teleconverter 1.4X II
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 Shopper’s Guide.
August 9th, 2010 Galapagos Day 5/Afternoon, July 10: Urbina Bay, Isabella
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| Both originals for this two-frame top and bottom stitched image were created with the Canon 800mm f/5.6L IS lens, the 1.4X II TC, and the EOS-1D Mark IV. ISO 250. Evaluative metering +1 stop: 1/200 sec. at f/10 set. II could not quite fit the whole head in the frame along with the spines so I locked focus on the eye and then raised the camera to create the top of the head and back that I needed. Going to a smaller aperture would have brought up much unwanted background detail in the form of dark shadows. |
Our wet landing at Urbina Bay featured several of the large, yellow Land Iguanas in decent settings. a circling adult Galapagos hawk, and a host of landbirds that responded eagerly to spishing during the last hour of daylight. The landbirds included Yellow Warbler, Small Ground Finch, Medium Ground Finch, and Galapagos Mockingbird. Many of us chose to photograph some pretty yellow blossoms. It was after sunset when Juan finally rounded us all up for the trip back to the Beagle.
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| This adult Galapagos Hawk began circling closer and closer to us but was way up there. The best move was to grab the 800 off the tripod and hand hold it. Hand holding it with the birds directly overhead is a lot easier than trying to hold it steady with a perched static subject in front of you. This one was created with the aforementioned Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 400. (Should have been 800). Evaluative metering +1 stop: 1/500 sec. at f/5.6. When going from photographing birds or iguanas at close range you need to remember to switch to far distance range limit. This once I did remember. Then I set 45-point AF as with my unsteadiness it does a better job of holding focus. One of the two properly framed images was sharp. |
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This female Medium Ground-Finch was photographed in low light with the Canon 800mm f/5.6L IS lens, a 25mm Extension tube for close focus, and the EOS-1D Mark IV. ISO 800. Evaluative metering +2/3 stop: 1/100 sec. at f/8. As regular readers know, the new image stabilization on the Canon 800 is nothing short of amazing.
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| By the middle of the first week we were old hands at getting in and out of the pangas safely with our gear. Actually, one person did slip and go down to one knee with a 400 DO lens in the rear pouch of his vest. That would be me. 🙂 But the wool hat kept the salt water off of my expensive glass and I was back on my feet almost before my knee hit the sand. That little excitement occurred on our landing at Darwin Bay, Tower Island on our first full day. I was just a bit careless for an instant. I made this image with the Canon 70-200mm IS L zoom lens handheld at 85mm) with the EOS-7D. ISO 400. Evaluative metering +1 stop: 1/200 sec. at f/4. That’s Denise Ippolio getting gracefully into the panga as Juan holds her 500. |
BIRDS AS ART Bulletin 334
BIRDS AS ART Bulletin 334 is on-line now and can be viewed here.
Shopper’s Guide
Here is the gear that I used that afternoon at Urbina Bay:
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
Canon EF 25mm Extension Tube
Canon EOS-7D
And from the BIRDS AS ART On-line store:
Gitzo 3530 LS Carbon Fiber tripod
Mongoose M3.6
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 Shopper’s Guide.
August 5th, 2010 Galapagos Day 5/Morning, July 10: Tagus Cove, Isabella
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| This three frame stitched panorama was created with the 24-105mm zoom lens handheld at 28mm with the EOS-1D Mark IV. I was inspired by the sweet light and the sloping hillside covered with incense trees. ISO 400. Evaluative metering +1 1/3 stops: 1/200 sec. at f/11 set manually. One Shot AF. When creating stitched panos it is important to work in Manual mode to ensure a consistent exposure. |
We slept a bit late to allow the group to recover from the continuous frantic action of the past few days. When the sun broke through the mist at 7am I grabbed the short zoom lens and a body so that I could create the image above. We had another wondrous morning in the pangas photographing any number of Galapagos Penguins including four copulating pairs. We had chances with lots of different behaviors including squabbling, courtship snuggling, and individual birds jumping into the water but I pretty much struck out on most of those; such is the nature of panga photography. In addition we had an elegant perched Swallow-tailed Gull and a handsome young American Oystercatcher foraging on a lava boulder. You can tell the year-old birds by their dusky bill tips.
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| Our guide, Juan Salcedo, is superb at positioning the panga for photography even in choppy seas and moderately strong currents. Here I hand held my very favorite panga lens the Canon 400mm f/4 IS DO lens along with the EOS-1D MIV. ISO 400. Evaluative metering -1/3 stop: 1/500 sec. at f/5 in Tv Mode. |
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| Galapagos Penguins mating. This image was created from a panga with the handheld Canon 400mm f/4 IS DO lens and the EOS-1D Mark IV. ISO 500. Evaluative metering -1/3 stop; 1/500 sec. at f/4.5. in Tv mode with ISO safety shift set again to ensure an adequate shutter speed while photographing from a rocking boat. |
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| A vertical rock wall with a collection of young Sally Lightfoot Crabs caught my attention as we drifted along near shore. Again, I made this image with the handheld 400mm f/4 IS DO lens and the EOS-1D Mark IV. ISO 3200. Evaluative metering +1/3 stop: 1/1000 sec. at f/4 in Tv mode. ISO safety shift raised the ISO to 3200 so that I could have the shutter speed that I (mistakenly) dialed in. Even pros make mistakes 🙂 |
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| We stayed with this young American Oystercatcher for about 15 minutes with Juan re-positioning the panga every few minutes so that the folks on each side of the boat had excellent chances. Meanwhile, the bird continued to pry all manner of invertebrates from its favorite huge rock. Then it would then bash away at them with its stout bill, often after placing the prey item in a crevice to secure it until it was able to get at the juicy flesh inside. You guessed it: this image was created with the handheld 400mm f/4 IS DO lens and the EOS-1D Mark IV. ISO 400. Evaluative metering -2/3 stop: 1/1500 sec. at f/5.6 in Program Mode. (Don’t ask me how I got in Program Mode!) |
We quit at 10:30 and snorkeled in Tagus Cove with about 20 Pacific Green Sea Turtles in water much too cold for me even with two wet suits on 🙂 Then it was lunch, a nap, and a two hour cruise to Urbina Bay.
Here is the gear that I used that morning.
Canon 24-105mm IS L zoom 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 Shopper’s Guide
August 4th, 2010
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| Denise Ippolito created this Glow 100 Fractalius for me as I could not find the download code so that I could put the plug-in on my new computer. Thanks Denise! My original “Marine Iguana with its tongue out” image appeared in BAA Bulletin 332. You can find the image in the Recent Bulletin Archives here on the blog; more on that to follow 🙂 . |
Fractalius
To learn more about this great plug-in, check out Denise’s free Fractalius tutorials here. To purchase the plug-in which runs only on PCs, please use this link. To see the spectacular images in the original Bulletin feature on Fractalius, click here and scroll down.
More Kudos to Peter Kes
If you are now enjoying the spectacular quality of the 800 wide JPEGs on the blog and in the Recent Bulletins Archive, you can thank Peter Kes. As most of you know, Peter is responsible for the new-look website and the new-look blog. His help in getting the ball rolling has been invaluble; Peter has selflessly shared both his knowledge and his time with me. If you would like help with your blog or website, you can inquire about Peter’s services by contacting him through his website.
Bulletin Archives Info
For years the original BAA Bulletin Archives have been a tremendous free resource for nature photographers. Aside from tons of great information, the original Bulletin Archives feature a great Google search feature that makes it easy to find the information you need. You can still find the original Bulletin Archives by visiting the birdsasart.com and then clicking on the Bulletin Archives link, the last one in the second row. That will bring you here. You can also get to the original Bulletin Archives from the blog: put your cursor over BAA Bulletins and then select Birds as Art Bulletin Archives from the two-item drop down menu.
Many have noted that the past few Bulletins have not been archived in the original Bulletin Archives; they are correct. At some point during the improvement phase it became impossible for Jennifer to upload each new Bulletin into Front Page. Peter and Jennifer worked on that today via Skype. (Peter is presently living in Switzerland.) Jen should have Bulletins 330 through 333 up in the original Bulletin Archives no later than early next week.
In the meantime Peter has been working on helping me to prepare new Bulletins via the blog and in the process has been archiving the recent Bulletins on the blog. The new presentation will be a huge improvement as compared to the Bulletins of the past. You can check out the new-look Bulletins in the Recent Bulletin Archives that is accessible from the blog. Put your cursor over BAA Bulletins and then select Recent Birds as Art Bulletins from the two-item drop down menu. The “missing” Bulletins, 330, 331, 332, and 333 can be found there at the top. Here is the direct link.
August 1st, 2010
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| This image was created just after 2:30 pm on an obviously clear sunny day with the Canon 15mm fish eye lens and the EOS-1D Mark IV. ISO 200. Evaluative metering +1/3 stop: 1/200 sec. at f/11. I held the camera on the ground and used Live View to frame the image. I warmed the image up during RAW conversion, ran a reverse S curve to reduce contrast, did some color work on the blue of the sky, added a bit of canvas below and right, and cloned out an intruding photographer on the left. |
Day 4/Afternoon, July 9: Afternoon: Punta Espinoza, Fernandina
We sailed about two hours to Punta Suarez, Fernandina and made a dry landing in bright sun at about 2:30. Richard Owen, who traveled with loverly wife Dot from their home in the UK to join up with friends Jim and Linda White–both IPT veterans– in Chicago, is a tall Brit who claims to be only six foot six (but looked a lot taller to me). He scared the heck out of Dot and the entire group as well when he took a header face down on the lava rock and wound up with his head underwater in the Pacific Ocean. I saw the start of the fall and could only think of a giraffe going down one section at time. What I heard next–many loud thuds and crashes–was even more terrifying than what I had seen.
After it was determined that Richard would indeed survive, Juan tended expertly to the first aid. Richard’s wounds included a gashed chin, a badly scraped knee, and a scraped elbow. Gashed would be more accurate than scraped….. According to Richard the worse damage was to his Nikon D-90 and to his pride. Richard’s demeanor immediately after the fall and during the ensuing days was simply remarkable. He was as smiling and happy afterwards as he was before, never griped for a moment, and encouraged others to poke fun at him by taking the lead himself. All, including me, joined in eagerly 🙂 I came to calling him “Sir Richard” to honor his remarkable attitude but he said with a straight face that he much preferred “Big Dick.”
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| To create this image I was lying on the ground on jagged lava rock that sloped towards the water. It was painful. I rested my lens on a rock that was a bit taller than the rest. Getting a swimming Marine Iguana in the frame was nearly impossible. I tried very hard as I knew that the eye level view would yield an intimate image. It hurt so much that I had to give up after about four minutes. I did not think that I made a single good image. I was thrilled when I saw this one in BreezeBrowser. Canon 800mm f/5.6 handheld with the EOS-1D MIV. ISO 250. Evaluative metering at zero: 1/1250 sec. at f/5.6. |
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| I love using the blue Pacific as background for head portraits of the Marine Iguanas. I went with just enough d-o-f to keep the face sharp while leaving the ocean pleasingly blurred. Algae-stained salt crystals adorn the top of this iguanas head. When working in bright sunshine, I try to remember to lower my ISO setting. And I make sure to point my shadow right at the subject to attain the most pleasing results. We noticed that when the Marine Iguanas came back from their underwater grazing and climbed up on the rocks that they would lick their chops. This made for some great photographic opportunities. Canon 800mm f/5.6L IS lens with the EOS-1D Mark IV. ISO 250. Evaluative metering at zero: 1/400 sec. at f/6.3. |
When I first began visiting the Galapagos six years ago Punta Espinoza was fantastic for Marine Iguanas and Flightless Cormorants with large numbers of the former and more than a handful of breeding pairs of the latter. There are still large piles of Marine Iguanas and despite the fact that Flightless Cormorants have become scarcer each year this is still an interesting and productive photographic location. The Marine Iguanas are fabulous subjects; as you see in this blog post you can make some great images of them using any lens in your bag. There are some nice stands of Lava Cactus, some Galapagos Sea Lions, Pacific Green Sea Turtles, Brown Pelicans and Blue-footed Boobies in flight, and lots of Sally Lightfoot crabs. We stayed late to take advantage of the sweet light and to try to create some iguana silhouettes.
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| Here again I got flat on the lava rock only this time it was level and not as jagged. Much better. By moving slowly I was able to get very close to this Sally Lightfoot Crab. I used the Canon 70-200mm f/4L IS lens with the 1.4X II teleconverter (handheld at 280mm) and the EOS-1D MIV. ISO 400. Evaluative metering at zero: 1/500 sec. at f/9. |
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| I wanted a nice blue background for this tight image of a Lava Cactus cluster so I switched my 70-200 for my 400 DO and sat on the lava so that I could get the background I wanted. Handheld Canon 400mm f/4 IS DO lens with the EOS-1D MIV. ISO 400. Evaluative metering +1/3 stop: 1/250 sec. at f/16. With a relatively slow shutter speed I made sure to brace the back of my left wrist on my left knee so as to solidly support the lens. |
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| I noticed several Blue-footed Boobies roosting on an offshore rock. I was photographing the group when another bird flew in to land so I pressed the button and was lucky to make a sharp image at a relatively slow shutter speed. Canon 800mm f/5.6L IS lens with the 1.4X II teleconverter and the EOS-1D Mark IV. ISO 200. Evaluative metering +2/3 stop: 1/200 sec. at f/11. |
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| I was working with my 800 while standing on a sand beach so that I was at eye level with a Flightless Cormorant sitting on a handsome nest. (See the next image.) Suddenly one Galapagos Sea Lion was chasing another; both animals were coming right at me at high speed, at least high speed for a sea lion. I grabbed the 70-200 that was hanging on my right shoulder via a camera body strap on the MIV. Rather than try to check the exposure I fired off two frames while zooming out. (Fire first; ask questions later.) This one was created at 116mm. I was glad that I had set the exposure compensation back to zero; the exposure was perfect. ISO 400: 1/640 sec. at f/6.3. |
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| In the field the problem here was that with the breeze in our face the bird was sitting on its nest facing away from us. I made this image when the Flightless Cormorant turned its head a bit towards me providing a halfway decent head angle. Canon 800mm f//5.6L IS lens with the 1.4X II teleconverter and the EOS-1D MIV. ISO 400. Evaluative metering +2/1 stop: 1/320 sec. at f/8. The problem on the computer was dealing with the very bright but not over-exposed white branches that were part of the nest. I used Select Color Range, Refine Edge, and a 20% Linear Burn to tone down the whites. All as described in Digital Basics. |
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| This photograph was created with the Canon 70-200mm f/4L IS lens and the 1.4X II TC (handheld at 280mm) with the EOS-1D Mark IV. ISO 400. Evaluative metering -1/3 stop: 1/640 sec. at f/14. Because of the exceedingly bright backlight I found it easier to focus manually and listen for the beep than to focus automatically. Getting into position on the lava rock was a another painful endeavor that resulted in a sore butt 🙂 But it was well worth it. |
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| As we waited for the panga I grabbed the 70-200 to create a scene-setting image of the small bay where many iguanas were returning to shore after sunset. ISO 1600. Evalautive metering +2 stops: 1/250 sec. at f/4. (Handheld at 78mm.) |
All in all it had been a long and memorable day. Do note that I used several different lens always trying to come up with the best tool for the job.
Here is the gear that I used that afternoon:
Canon 15mm Fish Eye lens
Canon 70-200mm f/4 l IS lens
Canon 400mm f/4 IS DO lens
Canon 800mm f/5.L IS lens
Canon EOS-1D Mark IV professional digital camera body
Canon EF Teleconverter 1.4X II
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 Shopper’s Guide.
July 28th, 2010 Day 4/Morning, July 9: Punta Vincente Roca
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| The original image here was made with the Canon 70-200mm f/4L IS lens and the EOS-1D MIV handheld at 70mm. ISO 500. Evaluative metering +1/3 stop: 1/30 sec. at f/20. I added the bird with the very blue feet top/right/center from another frame to create this photo illustration. Photographing a Blue-footed Booby feeding spree is one of the most difficult situations in nature photography. |
We woke late on the gray, foggy morning of July 9 and undertook a two hour navigation to Punta Vincente Roca, the location of our first panga (Zodiac) ride. Panga rides can be interesting and at times photographically rewarding, but nothing prepared us for the wonders that we were to experience that morning. As we boarded the pangas the skies were brightening. As we entered the cove, a Blue-footed Booby feeding spree was developing. About 400 birds would circle above the salemas (baitfish) and sardines and then dive in unison plunging into the water at speeds of up to 60 mph. While the number of birds was not relatively large, the feeding sprees continued for hours and when we had to go back to the boat, they continued. Between the sprees we photographed Brown Noddies both on their nesting walls and fishing. Though conditions were nearly perfect with relatively calm seas and the Image Stabilized and Vibration Reductionlenses allowed us to make sharp images, the two problems that you have on virtually all panga rides plagued us: maintaining focus and framing. Nonetheless, everyone made some great images. While we were photographing the noddies, Juan called out, “Flightless Cormorant mating dance” and on and off for the next two hours we had the privilege of photographing the rarely seen water courtship displays of this endangered species; there are only about 1900 individuals in the world, all concentrated in the western section of the Galapagos archipelago.
16 and 32gb flash cards filled at an implausible rate on that memorable morning but photographing the Blue-footed Booby feeding spree turned out to be beyond extremely difficult. I had had the chance to photograph a much larger spree (that lasted only ten minutes) on our last morning panga ride at Black Turtle Cove in 2009; my initial approach was to create pleasing blurs. I was happy but not thrilled with the results so for the first 1 1/2 hours I tried but mostly failed to create sharp images of the diving groups at shutter speeds of from 1/500 to 1/1000 sec. When I switched to slower shutter speeds I was able to create a few decent images. All in all it was a most memorable morning filled with natural history wonders.
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| Here I went for a sharp image by setting my shutter speed to 1/800 sec. at f/5 and allowing the camera to set the ISO as needed after I had put in my exposure compensation. Again I used the Canon 70-200mm f/4L IS lens and the EOS-1D MIV this time handheld at 93mm. ISO 400. Evaluative metering +1/3 stop: 1/800 sec. at f/5. |
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Photographing a Blue-footed Booby feeding spree is a difficult chore for a bird photographer. What lens? What framing? What shutter speed; sharp or blur? Will it continue? Will they dive in the same spot again or a half mile to either side? Yikes. In addition, with the other photographers trying their best to get images you never know when somebody’s hat or back will appear in your viewfinder at the wrong time… The action is frantic.
For this one of a Blue-footed Booby turning to begin its dive I grabbed the Canon 400mm IS DO lens with an EOS-1D Mark IV on it because the birds were diving right in front of us. ISO 640. I metered the pretty much white sky and added two full stops: 1/1000 sec. at f/5.6. The central sensor was right on the eye in the original. This is a small crop. The BKGR was smoothed out using a 60% Clone Stamp after I got rid of some whitewash on the cliffs. |
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| Folks need to realize how difficult flight photography is. And from a rocking panga, you can double that. I created several dozen images of the fishing noddies at Punta Vincente Roca. Nearly all were our of focus. Most were mis-framed with one part or another of the bird cut off by the frame edge. And then–as is so often the case, Bingo! Sometimes I think that I do it out of sheer determination. This Brown Noddy image was also created with the handheld Canon 400mm IS DO lens and an EOS-1D Mark IV.Here is worked in TV mode at 1/1000 sec. and ?1/3 stop. The camera set the ISO to 500 with an aperture of f/4.5. Sometimes even an old dog can hunt. |
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| Flightless Cormorant courtship dance: from the panga with the handheld Canon 400mm IS DO lens and an EOS-1D Mark IV ISO 800. Evaluative metering +1/3 stop; 1/800 sec. at f/5.6 in Tv mode. When working from a panga in low light where shutter speed rules as far as sharpness is concerned, I recommend that folks work in Tv mode, select a shutter speed that will yield sharp images with the lens that they are using, dial in the correct compensation, and let the camera set the necessary ISO either via the Auto ISO setting or via ISO Safety Shift (depending the camera body they are using). |
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