December 1st, 2010
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“Snow Geese Heading Home” was created with the Canon 70-200mm f/2.8L IS II lens with the EOS-1D Mark IV. ISO 50. Evaluative metering +1 stop: 1/13 sec. at f/14 in Tv Mode.
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Kruger-2-Kalahari Interview
Mario Fazekas of Kruger-2-Kalahari.com has kindly posted a fine 15-question interview of yours truly here. Be sure to surf around the site after you read the interview and check out some really fine African nature photography.
Here is a short excerpt from the interview:
7. Of your many IPT (Instructional Photo-Tour) workshops, which is your favorite and why?
Bosque del Apache NWR because of the birds, the spectacle, the light, and the connection to the memory of my beloved late wife, Elaine Belsky Morris. As I put the finishing touches on this interview my group is enjoying Bosque at its incredible best…
8. What makes a workshop successful from the student’s perspective?
Learning to think like a pro, learning to evaluate situations, getting some great images, and having an instructor who gives a damn.
Seeing me at work in the field, always moving, always switching gear and gears. And of course the killer classroom sessions where a good part of the learning occurs.
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Peter Kes, who designed and created both the new BIRDSASART.com and the Blog that you are now reading created this image of me on the recent Bosque IPT where he served as one of our great co-leaders. He posted this in the Friends and Family Forum at BPN here under the title, “Boss del Apache.” You gotta love it. This image is courtesy of and copyright 2010/Peter Kes. Check out Peter’s excellent, interesting and informative photo blog, Nature Notions, here or inquire about having him design your web site or blog.
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Shopper’s Guide
Here is a list of the gear used to create the Bosque image above.
Canon 70-200mm f/2.8L IS II lens
Canon EOS-1D Mark IV professional digital camera body
Delkin e-Film Pro UDMA 32gb Compact Flash Card
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.
November 30th, 2010
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Canon 70-200mm f/2.8L IS II lens with the 1.4X II TC (hand held at 280mm) with the EOS-1D Mark IV. ISO 200: 1/15 sec. at f/4 in Tv Mode.
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Flames and More…
On one of our many trips around the Farm Loop on the recently concluded Bosque IPT, the bright colors of a stand of vegetation caught my eye. When I exited my rental car everyone had a puzzled look on their faces as there were zero birds in sight. “We’re gonna do blurs” I explained. The colors had caught my eye. It was up to each of us to create attractive patterns by choosing a slow shutter speed and moving the camera during the exposure. Within minutes everyone was into it big time. To create the image above, I simply panned the camera vertically during the exposure. We did lots of image sharing right there in the field and there were lots of oohs and ahs. When I showed this one around everyone thought that the image looked like flames.
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Canon 500mm f/4L IS lens with the EOS-1D Mark III. ISO 160. Evaluative metering +1/3 stops: 1/13 sec. at f/18. Image courtesy of and copyright 2010: James E. Heupel.
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Jim Heupel, who was my right-hand man on the Iceland trip a few years back, has been co-leading Bosque IPTs with me for several years. He was the Chief Judge for the United States Air Force for seven years before he retired a while back. He is a fine nature and landscape photographer, and also enjoys photographing World War II re-enactments. On the Bosque IPT Jim did a Lightroom Basics program for the group. As he was scrolling through his images the one above jumped out at me. As I did, most folks asked, “Where did you get that?” While we had enjoyed some nice sunrise color that morning, all agreed that Jim’s image was unique. When I asked him how he created it he said, “I moved the camera vertically while panning with the flock, just as Denise (Ippolito) suggested that we do in last night’s Blurry Day program.” Denise uses that technique often for a variety of natural history subjects but I had never thought of trying it with a flock of Snow Geese in flight in the pre-dawn as Jim did. Looks a lot like flames to me. Thanks to Jim for sharing this wonderful image with us here.
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Canon 70-200mm f/2.8L IS II lens with the 1.4X II TC (hand held at 215mm) with the EOS-1D Mark IV. ISO 50: 1/8 sec. at f/20 in Manual Mode. I screwed a 77mm stop neutral density filter onto the front of the new 70-200 which is fast becoming one of my very favorite ever lenses. The correct exposure was determined via a histogram check.
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If you look at the distant mountains, you can see the vertical pan-blurred background streaks. And if you look at the geese in the lower right corner of the image, you can see that that look like straight white lines. When the flock blasted off I followed their movement by raising the camera vertically thus creating the pan-blurred background and foreground streaks. As Denise and I point out repeatedly in “A Guide to Pleasing Blurs,” digital allows folks to play, experiment, and have lots of fun. And once you have $10,000 to $30,000 worth of cameras, lenses, accessories, computers, compact flash cards, and software, it’s all free!
Moving your camera vertically while creating pleasing blurs can be a great strategy.
Shopper’s Guide
Here is a list of the gear used to create the images above.
Canon 70-200mm f/2.8L IS II lens
Canon 500mm f/4L IS lens
Canon EOS-1D Mark IV professional digital camera body
And from the BAA On-line Store:
Gitzo 3530 LS Tripod
Wimberley VII 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.
November 29th, 2010
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Canon 800mm f/5.6L IS lens with the EOS-1D Mark IV. ISO 400: 1/2000 sec. at f/8 set manually.
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Flight Photography Considerations: Wind and Sun Direction & Subject Tonality
On my busman’s holiday morning yesterday we had perfect flight photography conditions for about 30 minutes: when the wind shifted from the north/northwest (the worst!) to the south/southeast at about 8:30 we had the geese landing right at us with the sun at our backs. Birds will always land and takeoff into the wind. The adult blue morph Snow Goose in the image above came in just a shade to my left of right down sun angle.
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Canon 800mm f/5.6L IS lens with the EOS-1D Mark IV. ISO 400: 1/2000 sec. at f/9 set manually. Fine point: note that for the white morph adult Snow Goose image I used 1/3 stop less light than for the blue morph image above.
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The adult white morph Snow Goose in the image above came in just a very few degrees off the perfect light angle.
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Canon 800mm f/5.6L IS lens with the EOS-1D Mark IV. ISO 400: 1/1250 sec. at f/8 set manually. Fine point: note that for this immature dark morph Snow Goose image I used one full stop more light than for adult white morph image above.
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The young blue morph Snow Goose in the image above came in slightly to my right of perfect sun angle. With the top of the cottonwood tree in the lower left corner of the frame I like the high-in-the-frame upper-right placement of the subject here as it yielded perfect compositional balance.
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Canon 800mm f/5.6L IS lens with the EOS-1D Mark IV. ISO 400: 1/1650 sec. at f/8 set manually. Fine point: note that for this immature white morph Snow Goose I used 1/3 stop more light than for the adult white morph image above.
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Here the wind has shifted to the southwest; this is an ideal condition for creating images of birds landing parallel to the imaging sensor. At this point we have seen images of both young and adult light and dark morph Snow Geese.
If my comments on exposure (which are based on the varying tonalities of the geese) confuse you, you need to get a hold of the ABP/ABP II combo (and save $10 in the process). Then you need to study the section on exposure theory in the original “The Art of Bird Photography” (soft cover) and follow that up with work on the Exposure Simplified section in “The Art of Bird Photography II” (916 pages on CD only). If you already own the books and are still confused than you need to either hit the books or join an IPT.
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Canon 800mm f/5.6L IS lens with the EOS-1D Mark IV. ISO 400: 1/800 sec. at f/5.6 set manually. In a given lighting situation I use the same exposure for both Sandhill Cranes and the young white morph Snow Geese as both are gray birds with small patches of white. This image was made as the birds flew into a south/southwest wind in early morning. The soft early morning light required a slow shutter speed and a wider aperture than I used for the young white morph Snow Goose image above. The crane flying with its feet tucked in indicates that it was a very cold morning with the temps in the teens.
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I will be photographing at Bosque in about forty minutes and fly home this afternoon. Be sure to see the complete Bosque IPT report in the next Bulletin.
Shopper’s Guide
Here is a list of the gear that I used to create the 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
Double Bubble Level
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.
November 27th, 2010
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This image was created with the Canon 70-200mm f/2.8IS L II (hand held at 145mm) and the EOS-1D Mark IV. ISO 200. Evaluative metering +1/3 stop: 1/13 sec. at f/13 in Tv Mode. Even dead clear mornings can provide nice color at Bosque. You do not need to add as much light as you might think at sunrise lest you risk blowing the RED channel. And Tv mode with either ISO Safety Shift of Auto ISO (as described in detail in both the 7D and the Mark IV User’s Guide) is the best way to go despite the protestations of the “real photographers work only in Manual mode” folks….
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My Thoughts on Sharp vs Intentionally Blurred
Several folks who commented hit the nail on the head as far as I see it. Both are fine images. I like them both. But my very great preference is for the intentionally blurred image of the four cranes. What can I say? I have always liked blurs. And for me, this one is very special as the impressionistic blur of the wings of the four birds seem almost like the wings of a single creature. And I too love the light and the Southwestern colors.
This is not to say that one image is better than the other as that of course is strictly personal choice. I could however guarantee that the wigeon image would have zero chance of doing anything in a BBC Wildlife Photographer of the Year Competition while the crane image might do well in the right year….
Bosque Wrap-up
The 2010 “The Complete Bosque Experience IPT” concluded on Saturday afternoon with a visit to the Albuquerque Zoo. We had a great group, more than our fair share of clouds, some spectacular sunrise and sunset colors, and lots of south winds. And as I have stated already, conditions at the refuge were better than they have been in years. We had a great crew of co-leaders: Peter Kes from Switzerland provided lots of technical experitise in several areas, Denise Ippolito shared her creative genius, Jim Heupel was his all-around helpful self, and Robert O’Toole, though suffering through a very nasty cold, was there to assist all, to provide expert guidance to the Nikon folks, and to help me decide where to be and when. Thanks to all of the co-leaders and to all of those who filled yet another IPT. Be sure to see the next Bulletin for the complete trip report.
Shopper’s Guide
Here is a list of the gear that I used to create the image above.
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:
7D & Mark IV User’s Guides
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.
November 24th, 2010
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This image was created in Tanzania in January 2001 as I shared a safari van with Wes and Patti Ardoin. I used the Canon 28-135mm IS zoom lens (hand held at 135mm) with the EOS-10D. ISO 400. Evaluative metering -1/3 stop: 1/100 sec. at f/14 in Av Mode. The zebra stallion was mourning the death of his mare. We learned later on that morning that she had died during the birthing process. All of the other vans opted to leave the scene to have breakfast in the field. Wes and Patti agreed to stay with me and photograph until the drama played out. At the time, I was still mourning the death of my wife Elaine Belsky Morris so it was a moving experience for me seeing the stallion so obviously in love and so obviously sad.
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In Memoriam: Wes Ardoin
I first met Patti Ardoin at a seminar that I conducted in Baton Rouge, LA probably some time in the mid-1990s. I returned a few years later to Baton Rouge and this time Patti dragged Wes with her to the full day program. Wes stated plainly that he had no interest in wildlife photography. Patti on the other hand was addicted. Well, Wes must have enjoyed the seminar because in short order he had his own 500 IS lens. Over the next few years Wes and Patti traveled with me on many IPTs including the Photo-Safari mentioned above and a great Katmai Bear Boat IPT among others.
The rookery at Lake Martin, LA near the Ardoin’s home in Lafayette used to be a great place to photograph nesting Great Egret, nesting Roseate Spoonbill, Barred Owl, and lots more. After photographing there once on my own I decided to schedule a Lake Martin Spoonbill IPT. I believe that we did two of them. Well, Wes and Patti hosted each event at their home. On the night of the introductory slide program Patti would prepare a huge crawfish etouffee dinner for the group. And that was followed by the slide program. In their living room.
I learned with great sadness today that Wesley H. Ardoin died at home on Monday, November 22, 2010 at age 68. I just got off the phone with Patti. When I said to her, “When I think of Wes I think of the fact that he always had a smile on his face and was quick with a funny story or a joke” she said, “You’re right,” and then started laughing out loud.
Wes and Patti were married for 49 years. They began dating when they were 14 after meeting at the home of Patti’s cousin. They have 5 children, 4 grandchildren, and 1 great grandchild on the way. Wes was an orthodontist. I attended several staff parties and can honestly say that the man was loved by each and every one of his employees.
I relish the time that I spent with Wes and Patti. They were as happy a couple as I have ever encountered, always happy, always smiling, always loving what is. And always laughing. Wes and I loved to swap fishing stories. Though I never made it to his fishing camp, I felt as if I knew the place well.
I had such a wonderful relationship with Wes that many years ago I began calling him “Pops.” He will be sorely missed and remembered with love by all who knew him. I love you Pops.
November 23rd, 2010
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This image, “Sandhill Crane, Family of Four” was created this morning with the Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 50. Evaluative metering +1 stop: 1/8 sec. at f/10 in Tv Mode.
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Which Do You Prefer: Soft or Sharp?
Let me know with a short comment which image you like best, the crane blur or the sharp wigeon. And do let us know why. As always, if you’d like to learn to create pleasing blurs, check out: “A Guide to Pleasing Blurs” by Denise Ippolito and yours truly.
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This image, “American Wigeon Landing” was also created this morning. I used the Canon 70-200 f/2.8L IS II lens with the 2X II TC (hand held at 400mm) and the EOS-1D Mark IV. ISO 400. Evaluative metering -1/3 stop: 1600 sec. at f/8.
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Shopper’s Guide
Here is a list of the gear that I used to create the images above.
Canon 70-200mm f/2.8L IS II lens
Canon 800mm f/5.L IS lens
Canon EF Teleconverter 2X 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.
November 21st, 2010
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This zoom blur was created with the tripod-mounted 70-200 f/2.8L IS II lens and the EOS-1D Mark IV. ISO 400. Evaluative metering at zero: 1/3 sec. and f/18. (Zoomed from long to wide.) To learn to make images like this plus everything that you wanted to know about creating pleasing blurs but were afraid to ask, check out: “A Guide to Pleasing Blurs” by Denise Ippolito and yours truly.
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Bosque Is Rocking!
When I spoke to Jim Neiger last week, he said, “It’s the worst year ever, worse than last year.” I have been hearing the dire predictions for more than a decade but in recent years they have proven to be true. But this year, I knew that there was corn. Today, the first day of the 2010 The Complete Bosque Experience IPT, was one of the best days I have had here in 16 years. We started with a spectacular sunrise, enjoyed great blackbird and geese blast-offs, had some great incoming flight photography with single geese, and finished with a spectacular sunset filled with birds. Whew.
Congrats to the Bosque management team for getting it right: this year is Bosque like it used to be! And for the third straight year Gary Roleuau and his team of volunteer Animals did a great job of opening many strategically placed viewing windows. Thanks a stack guys and gals!
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This blackbird motion blur was created with the Canon 70-200 f/2.8L IS II lens and the 1.4X II teleconverter (hand held at 280mm) with the EOS-1D Mark IV. ISO 200. Evaluative metering +1 1/3 stops: 1/8 sec. and f/22 set manually.
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This Snow Goose blast-off blur was created with the Canon 70-200 f/2.8L IS II lens hand held at 80mm with the EOS-1D Mark IV. ISO 200. Evaluative metering +1 stop: 1/13 sec. at f/18 in Tv Mode.
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This banking Snow Goose image was created with the Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 400. Evaluative metering +1 stop off the sky: 1/2000 sec. and f/9 set manually.
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This landing Snow Goose image was created with the Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 400. Evaluative metering +1 stop off the sky: 1/2000 sec. and f/8 set manually.
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This sunset silhouette with killer cloud image was created with the Canon 70-200 f/2.8L IS II lens hand held at 88mm with the EOS-1D Mark IV. ISO 500. Evaluative metering +1 1/3 stops: 1/500 sec. at f/3.2. This was created at one of my favorite sunset spots, a spot that few serious photographers ever visit. To make the most of your Bosque visit get your self a copy of the Bosque Site Guide–the next best thing to being on an IPT.
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Shopper’s Guide
Here is a list of the gear that I used to create the images above.
Canon 70-200mm f/2.8L IS II lens
Canon 800mm f/5.L 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.
November 18th, 2010
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This California Brown Pelican was photographed on Wednesday morning past in La Jolla, CA with the 70-200 f/2.8L IS II lens, the 2X II TC, and the EOS-7D hand held at 342mm. (You gotta love the versatility of zoom lenses.) ISO 400. Evaluative metering +1/3 stop: 1/2000 sec. at f/5.6 in Manual mode. Bright sun fill flash at 0.
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Canon 70-200 with the 2X II TC and the EOS-7D
With all the success that I have had with the new 70-200, the 2X, and the Mark IV, folks have been clamoring for info on how the new lens and the 2X II TC would do with the 7D. I used the 7D on Wednesday morning after the sun broke through with the 70-200 f/2.8 IS L II and the 2X. For images of static subjects the combo performed superbly. I had only a few chances with birds in flight, too few to offer any substantive opinion….
Folks need to realize that with the 1.6X multiplier effect of the 7D that it will be more difficult to hold the rig steady than with the Mark IV with its 1.3X multiplier effect: 640 compared to 520. And errors of equipment shake are multiplied by the square of the focal length, not by the focal length alone. This of course goes quadruple for folks who are hand holding. Do not think that you can go out with the new 70-200, the 2X TC, and your 7D and make sharp images in any light without using a tripod. You need to have superb sharpness techniques when hand holding this combo. And lots of shutter speed. And you need to understand how your choice of AF mode (One-Shot or AI Servo) will influence focusing accuracy and therefore image sharpness….
The image above, however, shows that the combo can produce superbly sharp images in the right conditions when used by folks who know what they are doing.
One note about flight photography: in most flight situations, there would be little need to use the 2X II TC with the 70-200 and the 7D. With the 1.6 multiplier effect of the camera all that you will need most of the time for hand held flight photography is the 1.4X teleconverter. And I have no doubt that that combination will acquire focus quickly, track accurately, and produce a high percentage of razor sharp on the eye images….
You can learn how to better use your 7D by purchasing a copy of our 7D User’s Guide. For this image I had set a different focusing sensor for vertical camera orientation. Learn how in the 7D UG. The update will be sent very soon.
I fly to Albuquerque, NM to pick up Denise Ippolito and Peter Kes. The Bosque IPT begins tomorrow night. If you are in the neighborhood and would like to attend the introductory slide program as my guest, be at K-Bobs at about 6:45 pm.
Shopper’s Guide
Here is a list of the gear that I used to create the image above:
Canon 70-200mm f/2.8L IS II lens
Canon EF Teleconverter 2X II
Canon EOS 7D
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.
November 16th, 2010
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Brown Pelican in Peach Heaven, La Jolla, CA. I created this image on Monday morning past with my favorite new combo, the hand held 70-200 f/2.8L IS II lens, the 2X II TC, and the EOS-1D Mark IV. Flash at zero. ISO 500. Evaluative metering +2 1/3 stops: 1/60 sec. at f/6.3 in Tv Mode (to control a minimum shutter speed). See more on this image here.
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The Three Big Canon Gear Questions
#1: How much will the new Canon EF 500mm f/4L IS II weigh?
#2: How much will the new Canon EF 600mm f/4L IS II weigh?
I saw and lifted the new Canon 400mm f/2.8L IS II (never a choice of mine for bird photography but great in some situations and for photographing big mammals in low light) and was blown away by its small size and light weight. The brand new EF 400mm f/2.8L IS II USM weighs just 8.5 lbs., a whopping 28% lighter than the current EF 400mm f/2.8L IS USM lens. Amazing. Though I am positive the that weight reduction in the new 500 and the new 600 will not be as great percentage-wise as it is with the 400 2.8, I am eagerly awaiting the official weigh in 🙂
#3: What’s the real story with the two new Series III teleconverters?
Though nobody knows anything for sure as the neither the 1.4X TC III or the 2X TC III have been available for testing, here is the official wording.
“Extenders EF 1.4X III and EF 2X III have been newly developed in conjunction with the new Series II Image Stabilizer EF super-telephoto lenses. They can also be used with all previously announced extender-compatible EF lenses, but maximum performance is achieved when they are used with the new 300mm, 400mm, 500mm and 600mm lenses. The following sections provide more detailed information.”
The above from the info packed article by Chuck Westfall here.
I have learned that the two new TCs each have a micro-computer that will be able to communicate only with the four new super-telephoto lenses and that the vastly improved speed of initial focusing acquisition and more accurate focus tracking will only be there with the four new lenses. There will be improvement in image quality with all of the older compatible lenses (again, see Chuck’s article here), but they will be marginal.
Shopper’s Guide
Here is a list of the gear that I used to create the image above:
Canon 70-200mm f/2.8L IS II lens
Canon EF Teleconverter 2X 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 complete Shopper’s Guide.
November 13th, 2010
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Brown Pelican in flight; early morning light. Canon 70-200mm f/2.8L IS II with the 2X II teleconverter and the EOS-1D Mark IV handheld at 365mm. ISO 400. Evaluative metering +1 1/3 stops off the sky: 1/16000 sec. at f/5.6 set manually. Central sensor AI Servo AF with expansion to include surrounding points. Rear button focus.
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Canon 70-200mm f/2.8 L IS II & 2X II Teleconverter Report
I arrived in San Diego on Thursday afternoon and got out to La Jolla for a few hours on Friday morning. I speak on Saturday and Sunday at Photo Expo West in Delmar, CA. Admission if free so come on out and say “Hi.” For more info and the speaking schedule click here.
My main photographic mission while here in San Diego is to test the Canon 70-200mm f/2.8 IS L II (the latest version) with the EF teleconverter 2X II and the EOS-1D Mark IV professional digital camera body. After just two hours on the cliffs of La Jolla this morning I can tell you that the combination is both versatile and insanely sharp. If anyone has shown me the optimized TIFFs and told me that they were created with the 2X teleconverter I simply would not have believed them. Thanks to Patrick Sparkman for the heads up on this great combo; he used it extensively in the Galapagos. I did not have many chances for flight photography but the image above tells me all that I need to know 🙂 I will however keep testing.
Enjoy the rest of the images. Note: the new Series III teleconverters will be available soon. Mark IV owners who are confused by any of the AF or other settings mentioned here should get themselves a copy of the recently updated Mark IV User’s Guide. The updated 7D User’s Guide will not be sent until at least next Wednesday as the additions are more extensive than I had envisioned.
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First winter Western Gull sleeping. Canon 70-200mm f/2.8L IS II with the 2X II teleconverter and the EOS-1D Mark IV handheld at 400mm. ISO 400. Evaluative metering +1 1/3 stops: 1/1250 sec. at f/7.1 set manually. Central sensor AI Servo AF with expansion to include surrounding points. Rear button focus and recompose.
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Brown Pelicans on the rocks; early morning light with the distant Pacific Ocean as background. Canon 70-200mm f/2.8L IS II with the 2X II teleconverter and the EOS-1D Mark IV handheld at 335mm. ISO 400. Evaluative metering +1 1/3 stops off the sky: 1/1600 sec. at f/5.6. set manually. Central sensor AI Servo AF with expansion to include surrounding points. Rear button focus and recompose.
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Whimbrel calling. Canon 70-200mm f/2.8L IS II with the 2X II teleconverter and the EOS-1D Mark IV handheld at 300mm. ISO 400. Evaluative metering +1 2/3 stops off the sky: 1/1250 sec. at f/6.3 set manually. Central sensor AI Servo AF with expansion to include surrounding points. Rear button focus and recompose. Only one thing bugs me about this image. If you think you know what it is, please do post a comment.
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Surfer. Canon 70-200mm f/2.8L IS II with the 2X II teleconverter and the EOS-1D Mark IV handheld at 400mm. ISO 400. Evaluative metering +1 2/3 stops off the sky: 1/1600 sec. at f/7.1 set manually. I manually selected the third sensor to the left of the central sensor/AI Servo AF with expansion to include surrounding points. Rear button focus. As I have been saying: astoundingly sharp. On the TIFF, I can see the guys whiskers.
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Shopper’s Guide
Here is a list of the gear that I used on the cliffs on Friday morning:
Canon 70-200mm f/2.8L IS II lens
Canon EF Teleconverter 2X 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 complete Shopper’s Guide.
November 10th, 2010
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As you might guess, the E stands for eagle, but the E looks a lot bigger than the eagle did as it sat atop the telephone pole….
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Bald Eagle Gear (and a Whole New World) Revealed
Right after I got my 800, I tried to make a few images with the 2X teleconverter. Even with the Mark IV I had to focus manually as the pro bodies focus down to f/8 but not to f/11. I made quite a few images and the results were horrific; not a single image was anywhere near sharp. I did not realize at the time that the problem was a result of inaccurate (manual) focusing by yours truly. Recently I have been getting out each morning to photograph near my home for an hour or so. On Monday morning past, things were a bit slow so I decided to try something new, something based on a tip from early 7D User’s Guide purchaser Dave Hardcastle.
A pair of Bald Eagles sat on top of the telephone pole that you see in the image above. I set up the Canon 800mm f/5.6L IS lens with stacked teleconverters; the 2X goes on the lens and the nose of the 1.4X fits into the back of the 2X. I mounted one of my EOS-1D Mark VI bodies to the 1.4X. Next came David’s killer tip: while working in Live View I set the AF Mode to Live mode. The system focused very slowly but very accurately. When I saw how sharp the images were I was amazed. You can learn more about this technique and about using Live View for nature photography in both the MIV User’s Guide and the 7D User’s Guide. The MIV User’s Guide was just updated and the 7D User’s Guide update should be finished by the time I get to San Diego at about noon tomorrow; I will be speaking at Photo Expo West in Del Mar this coming weekend. Click here and scroll down for more info.
Using this technique will indeed open up a whole new world of long distance photography of static birds and animals. That reminds me, 800 X 2 X 1.4 X 1.3 = 2912mm effective (or equivalent) focal length, a tidy 58.24 magnification. While this was a one-time success I am optimistic that the results can be duplicated on a consistent basis. I’d estimate that I was about 70 yards from the bird….
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Gear as noted above. ISO 800: Evaluative metering +1/3 stop: 1/500 sec. at f/11.
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November 9th, 2010
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My right-hand man Jim Litzenberg and I traveled down to Naples, FL on Friday afternoon so that I could help out my friend James S. White on Saturday morning. Jim was leading a photo group at the Naples Botanical Gardens. This beautiful place exists only because of the vision and hard work of Jim’s wife Linda. Though I brought my macro lens on the walk, I never used it, turning instead to my trusty super telephoto lens. This water lily image was created in the pre-dawn light with the tripod-mounted Canon 800mm f/5.6L IS lens and the EOS-1D Mark IV. ISO 400. Evaluative metering +1 1/3 stops: 1/30 sec. at f/8. Rear button focus with the star and AF-On buttons switched as detailed in the recently updated Mark IV User’s Guide.
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Is it Photography or ….
I presented four programs on Sunday morning at the FCCC statewide convention teaching pretty much non-stop to a standing room only crowd for 4 1/2 hours but for a 3-minute pit stop. My spiel was very well received. Jim Litzenberg manned the BIRDS AS ART table and did a land-office business with the books and educational CDs. After lunch I helped judge a print contest. And after the keynote presentation I was asked to join a panel discussion. I am not positive of the topic but I think that it went something like this: Is it photography or is it graphic art?
The other three panelists were Photoshop expert Jane Zizer, veteran Sarasota photographer Carmen Schettino, and renowned black and white fine art photographer Clyde Butcher. Though Clyde’s work is breathtakingly spectacular, the term “fine art photographer” always sticks in my craw. What are the rest of us doing; not-so-fine art photography? I met Clyde a good five years ago at a similar conference in Florida. He attended my program and I attended his. Afterwards I went up to him, shook his hand, and told him how much I had enjoyed his program. To the very best of my memory, his response was, “Bird photography is easy.” Then he turned and walked away….
As I walked up to my seat on the panel, I was mentally pulling on the gloves, getting ready for battle as the moderator mentioned something about digital manipulation. Is what folks are doing today photography? Within minutes I was amazed. First Clyde Butcher stated that if he noted a cigarette butt in one of his masterpieces that he would remove it. I almost fell off of my chair. Then Carmen said that when he was judging–something that he does quite often, that he was fine with whatever you did in Photoshop as long as he could not tell that you did anything. I commented, “So it’s not digital manipulation that you are against, it’s bad digital manipulation.” That got a big laugh. Someone asked me what a photograph was. I answered, it’s what you get when you push the shutter button, whether a piece of film or a digital file.
I explained that 99% of my images were true to the natural history of the moment. That I often used present day technology to remove distracting elements from my images and to add canvas and occasionally a wing tip. That I labeled my images honestly and always let folks know what we did to create an image. And that whenever I entered a contest I followed the rules to the letter.
The moderator asked whether I was a graphic artist or a photographer. I said, “Both. Just like all the other photographers gathered here.” That brought a big cheer. Good questions from the audience brought the four of us closer and closer to total agreement. And that is just what the four of us did. We agreed that it was only the end result, the final photograph, that mattered. Did your creation move folks? Did it have impact? Was it beautiful? Did it make people smile, or make them think?
What you choose to call the final product did not matter to any of us. A photograph? A photo illustration? A manipulated image? A digital creation? Who cares? Is it beautiful, dramatic, interesting, thought-provoking? If yes, then it’s art (whether or not anyone ever buys the print!)
Feel free to share your thoughts below with a comment.
Bald Eagle Sharpness Comments
The wide variety of opinions as to whether or not the Bald Eagle image in yesterday’s post was sharp or not was amazing by not surprising. To me, the JPEG looks plenty sharp. The eye of the eagle is razor sharp. The black feathers are sharp. The head feathers in the presented JPEG might not look very sharp, but in the optimized TIFF, they are. Creating a JPEG always increases the contrast in an image; that might account for some folks stating that white head feathers are not sharp.
I will be back with the answers to questions 2 and 3 asap. If anyone wants to go to Greece in late February with Robert O’Toole and me to photograph the spectacular Dalmatian Pelicans, please e-mail me tonight for advance notice of the details at samandmayasgrandpa@att.net.
Shopper’s Guide
Here is the gear that I used to create the water lily image:
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
Double Bubble Spirit Level
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.
November 8th, 2010
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Sorry 🙂 I will be sharing the tech specs for this image after I hear from y’all.
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Bald Eagle Image Questions
I created this image this morning. Here is a list of the gear that I had in my car:
Canon 800mm f/5.6L IS lens
Canon 500mm f/4L IS lens
Canon 400mm IS DO lens
Canon 70-200mm f/4L IS lens
Canon EOS-1D Mark IV
Canon EOS-7D
Canon 1.4X II TC
Canon 2X II TC
Ok, here are the questions:
1-Does the image look sharp to you?
2-What gear did I use to create the image?
3-What was the effective focal length of the gear that I used? Lens length X teleconverter (or teleconverterss) X multiplier effect (1.3) of the camera.
Pretty easy, no?
The answers will be coming soon.
Shopper’s Guide
Here is the gear that I had in the car with me this morning:
Canon 800mm f/5.L IS lens
Canon 500mm f/4L IS lens
Canon 400mm f/4 IS DO lens
Canon 70-200mm f/4 l IS lens
Canon EOS-1D Mark IV professional digital camera body
Canon EOS 7D
Canon EF Teleconverter 1.4X II
Canon 2X II teleconverter
And from the BAA On-line Store:
Gitzo 3530 LS Tripod
Mongoose M3.6 Tripod Head
Double Bubble Spirit Level
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.
November 4th, 2010 Photoshop Lesson Continued: A Jim Howell Question
After yesterday’s post Jim Howell asked the following question in the Comments section:
“Arthur, this is a great composite and thanks for this tutorial, APBII, Digital Basics and thank you Robert for APTATS. I’ve looked and looked at the photos – where was the blur necessary?”
Good question Jim. And thanks for your kind words. I love this one too, especially as it looks as if the stretching bird is staring at the other two. I will answer your question in this post with my comments on two close-up images.
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This image is a tight crop of the branch after I lined up the two images. As you can see, everything to the right of the red line is sharp, everything to the left is blurred. That is especially noticeable in the rotted section.
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Everything to the left of the red line is the introduced layer. First I wanted to restore the sharpness in the wood above the rotted part so I created a layer mask on the introduced layer and erased the soft stuff that covered the sharper clean wood below. The problem was that there was still an obvious sharp soft demarcation in the rotted wood….
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Next I flattened the two layers and then painted a Quick Mask of the sharper rotted wood on the right. Then I applied about a 1 pixel Gaussian blur until the texture of the rotted portion matched fairly well.
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Though my repair might stand up to pixel by pixel scrutiny it looked a whole lot better than it did before the additional work 🙂
Thanks again Jim for the great question.
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.
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