Outdoor Photographer - December 2014 USA

CONTENTS
December 2014 Scenic Travel Wildlife Sports Vol. 30 No. 11
58
52 62
[ FEATUR ES ] [H O W-T O]
50 BEHIND THE SHOT: 62 LANDSCAPE ASTROPHOTOGRAPHY
SHIPROCK AND DUST STORM Tips, techniques and gear for exploring the exciting world
Text & Photography By Jory Vander Galien of creating starry sky scenic photos
Text & Photography By Adam Woodworth
52 OFF THE GRID
Far from the Tropic zone, Chris Burkards big-picture 68 HARNESS HIGH CONTRAST
outlook leads to images that are a mix of stunning Michael Frye takes us through the steps of getting the
landscapes, dramatic coastlines and out-of-the- most out of a high-contrast landscape
ordinary surf action Text & Photography By Michael Frye
By Ashley Myers-Turner
Photography By Chris Burkard SOLUTIONS
46 KEEP QUIET
58 BEST OF ASSIGNMENTS Avoid startling wildlife with a modern DSLR sound blimp
The best of the Assignments submissions from
outdoorphotographer.com 24 108 THE MONITOR DEBATE
LED vs. LCD, connectivity and morewhich
screen is right for you?
By Jon Sienkiewicz
22 76 30
Check out our website @ outdoorphotographer.com More On

Next Page
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Move into a New World

CONTENTS
[ EQU IP M ENT]
22 IN FOCUS: EDITORS PICKS 2014
Our annual guide to the choice gear of the year
76 BEST CAMERAS OF 2014 FOR

NATURE PHOTOGRAPHERS 22
We choose our favorite nature photography
cameras introduced this year
98 GADGET BAG:
THE PHOTOGRAPHERS SMARTPHONE
The latest smartphones, and how their cameras
and other features can benefit you
By Ashley Myers-Turner
98
76
COLUMNS D E PA R T M E N T S
38 Tech Tips 13 Cover Shot
Winters Sparkles 15 In This Issue
By George D. Lepp
16 Showcase
44 Basic Jones 42 Favorite Places:
Flying High Boca Ciega Millennium
By Dewitt Jones
Park, Florida
90 Classes, Tours
& Workshops
28 96 OP Marketplace
110 Last Frame
44

MORE On The Web
outdoorphotographer.com
Visit Your Favorite Places: Photographers from all over the world The OP Daily Blog: Posts from photographers Michael Clark, Jon
are sharing favorite nature photography locations. You can, too! Cornforth, Michael Frye, Jay Goodrich, George Lepp, Jerry Monkman,
Learn About New Products: Exciting new products featured in Ian Plant, Christopher Robinson, Joseph Rossbach and Kevin Schafer.
OPs In Focus section appear earlier on the website. In addition, OP Forums: Connect with fellow OP readers and discuss your
youll see the latest news releases from many different photo passion for nature photography and outdoor adventures in our
companies right away. Outdoor Photographer Forums
Outdoor Photographer (ISSN: 0890-5304)Vol. 30 No. 11is published monthly except bimonthly Jan./Feb. by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176,
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cover shot
Photographer: Marc Adamus

Location: Tombstone Territorial Park,
Yukon, Canada
Situation: Tombstone Mountain is
impressive and ominous. The aptly
named peak is part of the Tombstone
Territorial Park in Canadas Yukon Ter-
ritory. The park is 2,200 square kilo-
meters, and its known for spectacular
scenery and an uncommonly rich ar-
ray of ecological niches. At the parks
northern latitudes, one doesnt normal-
ly see such a concentration of diverse
flora and fauna.
The park is accessible by road, mak-
ing it possible for casual hikers and
day-trippers to enjoy the area on foot.
Of course, more intrepid adventurers
like Marc Adamus can venture deeper
into the backcountry for a truly remote
experience amid the dramatic black
granite peaks. Venturing a full day or
more from the Dempster Highway will
take you into the center of the park.
The park is a special draw for visi-
tors in late summer when the tundra
explodes in vibrant colors and trans-
forms the landscape. Adamus, how-
ever, captured a different palette when
he made this photograph in early win-
ter. With the golden sun just above the
mountains, the snowy landscape reflects
the blue and purple of the early morning
sky in a marvelous backlit scene.
You can see more of Adamus work at
www.marcadamus.com, and go to www.
outdoorphotographer.com to see our pro-
file, Next Generation Landscapes, where
he discusses his use of digital technology
to create images as his eye sees the scene.
Outdoor
Ascend to a higher Photographer
level of gear protection.
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in this issue
H
What started out ave all of the good photos been The photo that I had been emailed for reference
looking like a possible taken? Its one of those troll-bait was a scan from an original film transparency,
stolen image was questions that pops up in forums and so there was almost no metadata. Alarm bells
actually just a crazy
blogs from time to time. I received started to ring. If this was a stolen image situa-
an alarming email from an OP con- tion, it was a pretty elaborate one.
coincidence. But this
tributor recently that made me think of this ques- Looking at the two images side by side, I
coincidence made me tion a little differently. Heres what happened. began to notice some very slight differences. The
think about that The email arrived with a subject line about framing was nearly identical in both photos. If
troll-bait question: Have a photo that appeared in the magazine, and it one were looking at a situation of a stolen photo,
all of the good photos essentially stated we had published an image you might expect that the thief would crop and
been taken? No. Of that belonged to him and attributed it to some- manipulate it at least slightly, but what made
course not. A better one else. My first thought was that something the alarm bells sound loudly was that the more
had been mixed up when the article was laid out, cropped version was the one we didnt publish.
question is are we,
and we accidentally placed the wrong image. It There was one last thing to check. I asked the
collectively, seeing
made no sense how that could have happened, contributor when his original transparency was
landscapes the same? but that was where my investigation began. I taken. He was able to recount the entire story of
Is there a common wrote back to the contributor to say I was look- the photo, mentioning that he waited for hours for
aesthetic thats so ing into the matter. The contributor wrote back the light, and he didnt see anyone all day long.
pervasive that the same immediately expressing concern that his image Because hes a particularly detail-oriented indi-
photos are being taken had been stolen, and what appeared in OP vidual, he had notes with the date and the exact
over and over? My wasnt because of an innocent if terrible error, time he made the 4x5 transparency exposure: 6:15
but the result of fraud, and he sent me his origi- on a September evening. I went back to the meta-
favorite Schopenhauer
nal image file for reference. data of the published image: 6:40 on the same day.
quotation comes to I double-checked and confirmed that we did What started out looking like a possible sto-
mind yet again, Thus, in fact place the correct image in the article. In len image was actually just a crazy coincidence.
the task is not so much other words, it was looking like there was a pos- But this coincidence made me think about that
to see what no one yet sibility that the photo we published could have troll-bait question: Have all of the good photos
has seen, but to think been appropriated and passed off as someone been taken? No. Of course not. A better ques-
what nobody yet has elses work. Stories of similar situations are daily tion is are we, collectively, seeing landscapes
thought about that
occurrences on Facebook and other areas of the the same? Is there a common aesthetic thats so
Internet, but something like this happening where pervasive that the same photos are being taken
which everybody sees.
I personally know both of the photographers was over and over? My favorite Schopenhauer quo-
inconceivable to me. I started to dig some more. tation comes to mind yet again, Thus, the task
The next obvious thing to do was to check is not so much to see what no one yet has seen,
the metadata in both images. The photo we but to think what nobody yet has thought about
published had the usual complement of infor- that which everybody sees.
mation including camera, lens, date and time. Christopher Robinson, Publisher/Editor
outdoorphotographer.com November 2014 15
5th Annual Great Outdoors contest Winners
show Congratulations to the winners of the 2014 Great Outdoors contest. Special thanks
go out to our sponsors: GigaPan, Lexar, Manfrotto, Tamrac, Hoodman and LumiQuest.
case

1st Place
Steven Castro
Photographer | Steven Castro | Camera | Canon EOS 5D Mark II, Canon TS-E 24mm /3.5L II lens
I captured this image in October while my son and I were traveling to the east side of the Sierra to photograph the fall colors. Ive driven
by Tenaya Lake many times, but never stopped to explore until the evening I took this photograph. We initially tried various compositions
closer to the road with less than satisfactory results. With the light fading, we made our way west until we found this composition. My first
30 sec. exposure was too short, so I went with a 60 sec. exposure and used my headlamp to light up the rocks in the foreground.
Lenses and accessories shown are not included
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5th Annual Great Outdoors contest WinnerS
case
show
David Halgrimson
2nd Place
Photographer | David Halgrimson | Camera | Canon EOS 5D, Canon EF 28-135mm /3.5-5.6 IS lens
This shot was taken in September 2012, in the evening as the sun was setting, with a Canon 5D, 28-135mm lens at 28mm, /16, .6 secs. and ISO 100 on a tripod. We were a
group from Arizona Highways Photo Workshops, and I wandered off from the group looking for something unique, and noticed this little island with its great shape and lighting.
I tried many angles and finally climbed an embankment about eight feet high, where I could look down on the island instead of straight at it, and ended up with this image.
An added plus were the rocks in the water at the base of the island; using a polarizer helped make the rocks stand out. Postprocessing was done in CS5.
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2014 Sony Electronics Inc. The Sony logo is a trademark of Sony Corporation. All rights reserved.
Reproduction in whole or in part without written permission is prohibited. All other trademarks are
trademarks of their respective owners.
5th Annual Great Outdoors contest winners
show
case

Rolland Gelly
Frank Ruggles
Honorable Mention Honorable Mention

Photographer | Rolland Gelly Photographer | Frank Ruggles
Nikon D300, Nikon AF-S VR Zoom-Nikkor Nikon D800E, Nikon AF-S Zoom Nikkor
70-300mm /4.5-5.6G IF-ED lens 14-24mm /2.8G ED AF lens
David Akoubian ;HTYon Image Master)
Inspiration knows no distance.
16-300mm
F/3.5-6.3 Di II VC PZD MACRO
The 16mm wide-angle revolution.
Setting a new standard in high-power zoom lenses.
;OPZL_[YHVYKPUHY`^VYSKZYZ[1 18.8x zoom comes with Vibration
Compensation and high-speed Piezo Drive autofocusing, making the
Tamron 16-300mm Di II VC PZD Macro a lens you can rely on for crisp,
detailed wide-angle to long-telephoto shots.
Model B016
For Canon, Nikon and Sony* mounts
*Sony mount without VC
1
As of March 2014 Source: Tamron
www.tamron-usa.com
Editors
Picks
SONY ACTION CAM MINI & LIVE VIEW
Whats better than an ultrawide HD POV camera with
T
S CANON EF 16-35mm F/4L IS USM
For my Canon EOS 5D Mark III outfit, the original
image stabilization and a built-in stereo mic for
16-35mm /2.8 L-series lens was a mainstay.
capturing your adventures hands-free? How
When Canon introduced the Mark II version of
about up to five of them, all
the lens, it was a clear improvement, but at a
controlled by a wrist-
price that gave me pause. This year, Canon
mounted Live View
came out with an /4 image-stabilized L-series
Remote? Sonys Action
16-35mm, and I jumped at it. I like having the
Cam Mini features Zeiss
IS, but its the overall optical performance that
optics with a 170 angle of
really made me pull out my credit card. Because
view and can record
I seldom shoot wide open with the 16-35mm,
11.9-megapixel stills in
I didnt feel like I was losing out with the /4
addition to 1080/60p video.
maximum aperture, and the size, weight,
The camera is splashproof,
performance and price are all superior to the
but comes with a waterproof
/2.8 version. Estimated Street Price: $1,199.
housing thats rated to 15
Contact: Canon, www.usa.canon.com. CR
feet. The Live View Remote
is also included. Estimated
Street Price: $349. Contact: Sony,
store.sony.com. WP
HOYA EVO ANTISTATIC FILTERS X

Assuming youd rather be shooting than retouching in post, keeping
your glass clean is a constant duty. Hoyas EVO Antistatic filters
promise to help reduce the need for lens cloths and such. The
engineered coating repels dust and water, is stain- and scratch-
resistant, and makes it easy to wipe away fingerprints. Three versions
are currently available: a circular polarizer, and UV and protector filters
with no optical effect. Estimated Street Price: Varies by size and type.
Contact: Kenko Tokina USA, www.kenkotokinausa.com. WP
W ZEISS OTUS 85
Zeiss lenses are stunning. In 2013, Zeiss launched the Otus line of
primes for full-frame DSLRs with the 55mm /1.4, and they said there
would be more to come. In 2014, they made good on that with the 85mm
/1.4, and I had a chance to use one for a few days. The sharpness is
magnificent across the frame at all apertures, and I saw no color fringing in
any of my photos. Unlike my wide-angle zoom, the 85mm focal length is
one that Ill often use wide open, so having the /1.4 maximum aperture is
most welcome. This kind of performance comes at a price, but if you rely
on the 85mm focal length, the Zeiss Otus lens is worth it. Estimated Street
Price: $4,490. Contact: Zeiss, www.zeiss.com/camera-lenses. CR
22 Outdoor Photographer outdoorphotographer.com W More gear online: www.outdoorphotographer.com/infocus

Editors
Picks
W
A F-SNIKKOR
20mm F/1.8G ED
Sure to be a favorite lens
for landscape and travel
photographers, the new
MANFROTTO BEFREE X
AF-S Nikkor 20mm
Knowing you should carry a tripod for the /1.8G ED provides a
sharpest shots isnt the same as dramatic wide-angle view
wanting to carry a tripod. Manfrottos when used with FX-format
Befree aims to reduce the burden cameras, and a still relatively wide
with its extremely compact and 30mm equivalent perspective with DX
lightweight design. Available in cameras, with a fast /1.8 max aperture
carbon fiber (2.4 pounds) and ideal for low-light photography. The 20mm
aluminum (3 pounds), the Befree joins Nikons growing family of /1.8
folds down to just 15.7 inches and FX-format primes, which also includes
comes with a convenient padded bag 28mm, 35mm, 50mm and 85mm focal
for carrying. With the legs and center lengths. Estimated Street Price: $799.
column fully extended, the Befree Contact: Nikon, www.nikonusa.com. WP
reaches a height of just under 57
inches and can support up to 8.8
pounds of gear. Estimated Street
Price: From $199. Contact: Manfrotto,
www.manfrotto.us. WP
W BLACKRAPID CROSS
SHOT STRAP
I never liked neck straps until I
started using the BlackRapid
slings. When I saw the first model, I
thought, Who would use this? and
SHD PENTAX-DA AF 1.4X AW REAR CONVERTER
when I attached it to my DSLR, I
Pentax offers DSLRs with excellent image quality and weather-
thought, Why didnt anyone make
resistance, making them great options for the outdoor/nature shooter.
one of these before? The Cross
The big drawback for wildlife photographers has been the lack of long
Shot the company introduced this
lenses: The DA* 300mm /4 SDM and DA 560mm /5.6 are the only
year is a nicely thinned-down strap
high-performance ones in the current lineup. So the introduction of the
that lies across the body. You can
HD DA AF 1.4X AW Rear Converter is especially welcome news. The
orient the strap such that the
unit turns the DA* 300mm /4 into a 420mm /5.6, retaining the weather
camera can hang on the left or
resistance, 4.6-foot minimum focusing distance and AF capability. It turns
right. The nonslip rubber shoulder
the DA 560mm /5.6 into a 784mm /8, retaining the weather resistance
pad is comfortable without the
and 18.4-foot minimum focusing distance and contrast-based AF
bulk of extra foam, and its avail-
in Live View mode, but not phase-detection AF in Viewfinder mode. The
able in orange. Estimated Street
converter can be used with many other Pentax lenses, providing
Price: $45. Contact: BlackRapid,
phase-detection AF with those of /4 and faster. Estimated Street Price:
www.blackrapid.com. CR
$599. Contact: Ricoh Imaging, www.us.ricoh-imaging.com. MS
MYLIO X
Seattle-based startup Mylio is making a cross-platform,
cross-device app that could change your imaging life. You
can access all of your images on all of your deviceslaptop,
desktop, smartphone and tabletall the time, and you can edit,
search, organize and send them in real time. Mylio is much
more than a cloud-based archive; it gives you a way to truly get
a grip on your entire imaging life. Estimated Street Price: Varies.
Contact: Mylio, mylio.com. CR

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Editors
Picks
STAMRON SP 150-600mm F/5-6.3 Di VC UD
The Tamron SP 150-600mm supertele zoom is a budget wildlife
photographers dream lens: a usable 600mm focal length for
$1,069. Image quality is very good out to around 500mm, and
600mm is quite usable, especially when stopped down to /8.
The Tamron also focuses 6 to 7 feet closer than the costly pro
600mm /4 lenses, handy when trying to get an angle on a
relatively nearby bird perched among tree clutter, and is much
lighter. And it can do birds in flight, although its slower than the
pro supertele lenses. The SP 150-600mm also has the benefit of
being a zoom: Its not easy to find a flying bird with the narrow
angle of view of 600mm, but with the Tamron, you can start at
SNOVOFLEX LENS ADAPTERS 150mm to find the subject, then zoom in on it. Tamrons
With the fast pace of change in technology and the rising proprietary Vibration Compensation helps with handholding the
popularity of mirrorless systems, you may find yourself 4.3-pound lens. The SP 150-600mm is a full-frame lens, but can,
with favorite lenses that dont work with your new of course, also be used with APS-C cameras, and is available in
camera body. High-quality lens adapters like those Canon, Nikon or Sony A mount. Estimated Street Price: $1,069.
from Novoflex let you pair a wide range of cameras with Contact: Tamron USA, www.tamron-usa.com. MS
legacy lenses or optics from other makers. Want to use
a Leica M lens with your Nikon 1? No problem! Novoflex
adapters are available for most popular DSLR and
mirrorless systems and lens lines. List Price: Varies
depending on camera and lens combination. Contact:
HP Marketing Corp., www.hpmarketingcorp.com. WP
TonONE PERFECT PHOTO SUITE 9

Seven apps in one, Perfect Photo Suite 9 from onOne
Software includes powerful, yet easy-to-use tools to
handle a variety of common photo tasks, as well as
sophisticated special effects like replicating the look of
tilt-shift lenses. New in Version 9 is an overhauled
browser with new rating and keyword functions,
improved masking and selection tools, and the Smart STHE CHRONICLE BAG
Photo feature, which lets you re-edit a photo and make The Chronicle, from Domkes Next Generation line,
changes to previous edits even after saving and closing incorporates pro photographers feedback for a more
the file. It works as a durable and protective camera bag. The main body uses
standalone app and the GearProtex customizable insert system, allowing you to
also integrates with shape and bend the self-adhering dividers to secure your
Photoshop, DSLR, lenses and flash. The PocketFlex system allows the
Lightroom and addition of self-adhesive pockets, patches and pouches for
Aperture. List Price: personalized accessory storage. The 15.75x7x10-inch bag
$149. Contact: also provides two expandable zippered side pockets, two
onOne Software, expandable front pockets and a padded zippered tablet
www.ononesoftware. sleeve. Side rain hoods, a quiet system Velcro silencer,
com. WP grab strap and Gripper shoulder strap add to its versatility.
Available in waxed Canvas and Cordura. List Price: $459.
Contact: Tiffen, www.tiffen.com. AMT

WHEN INSPIRATION STRIKES, STRIKE FASTER.
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2014 Canon U.S.A., Inc. All rights reserved. Canon and EOS are r trar
Introducing the incredibly fast EOS 7D Mark II DSLR. Complete with up to 10 framess per
second of continuous shooting and our revolutionary 65-point* All Cross-type autofocus
system, it was built to keep anything and everything sharp and stunning.
Show us how you bring it at bringit.usa.canon.com
Editors
PHANTOM 2 VISION+ QUADCOPTER X
Multirotor photo drones are becoming increasingly
popular (be sure to check local laws regarding their use),
and the Phantom 2 Vision+ quadcopter from DJI is a
very good one that comes with everything you need to
start aerial still or video shooting, including a 3-axis
camera-stabilization gimbal, 14MP/1080 camera,
ground station and software for your iOS or Android
smartphone (which lets you see what the camera sees).
The unit is ready to fly, right out of the box, and its
easy to fly thanks to the Smart Flight controller, which
provides programmed auto flight and manual control.
Estimated Street Price: $1,159. Contact: DJI,
www.dji.com. MS
W LEICA T-SYSTEM
Leica is known more for
the elegance of their
products than as a
common-sense purchase.
With the breathtaking
T-System, however, I
think they managed to hit
the sweet spot of pricing
and design through an
absolutely minimal construction orchestrated in concert with Audi Design. While
a 16-megapixel, APS-C-sized CMOS sensor doesnt compete too well with
modern specs of other, more affordable cameras, the Leica T is unabashedly SHOLDFAST GEAR MONEY MAKER
about style, and even the sacrifice to megapixel count results in impressive and A departure from typical camera straps, the
effortless imaging quality. While only a few lenses were introduced with it, the Money Maker from HoldFast Gear lets you
Leica T also sports a new mirrorless lens mount that can be adapted for the carry up to three cameras, securely attached via
legacy of incredibly well-regarded Leica M-mount lenses. Estimated Street the cameras side lug, with a slick design that
Price: $1,850. Contact: Leica Camera, us.leica-camera.com. DW allows you to quickly slide a camera along the
leather harness into shooting position. Pair it
with accessories like the Explorer Lens Pouch,
Photo Belt and Indispensable Wallet for a
unique alternative to a camera bag. List Price:
GURA GEAR SABI SUPPORT SACK X
From $200. Contact: HoldFast Gear,
Outdoor photographers often encounter locations
www.holdfastgear.com. WP
where the camera needs support, but none is
readily available. Enter Gura Gears Sabi Support
Sack, a rugged, solid, yet flexible double-pillow
bean bag support thats easy to carry and can
be used in a safari vehicle or just about anywhere
to steady your camera. You can fill it with Guras
buckwheat hulls, or whatever you can find on
location if you dont want to carry those. The Sabi
is available in two sizes and two colors. Estimated
Street Price: $39.95 (Sabi); $59.95 (Super Sabi).
Contact: Gura Gear, www.guragear.com. MS

6TCPUHGTNGUCV
6JWPFGTDQNV 2 speeds.
TM
All products sold separately
1HQCF[QWTYQTMHCUVGT
A comprehensive line of hubs, card readers, and storage drives, Lexar Professional Workflow products allow you to quickly
transfer and back up files from multiple cards at once. The latest offerings include the Professional Workflow HR2 hub and
CR2 CFast 2.0 readerboth leveraging next-generation, high-speed Thunderbolt 2 performance, so you can quickly
transfer RAW image, high-res photos, and HD, 3D, and 4K video.
Pick and choose the right Professional Workflow products for your needs, add a selection of high-capacity Lexar Professional
line memory cards, and take control of your workflow.
2014 Micron Consumer Products Group, Inc. All rights reserved. Information is subject to change without notice. Lexar, the Lexar logo, and When Memory Matters are trademarks of Micron Consumer Products Group, Inc.
Micron Consumer Products Group is an authorized licensee of the CompactFlash trademark. The Micron logo is a registered trademark of Micron Technology, Inc. CFast is a trademark of the CompactFlash Association.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. All other trademarks or registered trademarks are property of their respective owners. Micron Consumer Products
Group, Inc. is a subsidiary of Micron Technology, Inc.
333-464 OP Rev A
Editors
Picks S G-TECHNOLOGY G-DRIVE
Today, more than ever, storage solutions are essential. High-megapixel digital
cameras and HDand even 4Kvideo capabilities mean the photographer
needs plenty of storage, as well as quick performance. G-Technologys
G-DRIVE USB is fast (USB 3.0, 3.5-inch 7200 rpm drive), affordable,
compatible with Mac OS 10.7 (easily reformatted for Windows 8.1, 8 and 7) and
comes in large capacities. All units measure 1.34x7.72x5.06 inches and
feature aluminum enclosures. Estimated Street Price: $159 (2 TB); $179 (3 TB);
$199 (4 TB); $399 (6 TB). Contact: G-Technology, www.g-technology.com. MS
SFLASHPOINT 3POD H5 BALLHEAD

The Flashpoint 3Pod H5 Ballhead is both
reliable and portable. The CNC-forged aluminum
construction increases durability while decreasing
weight. The H5 fastens to a tripod body or
center column or can be used alone as a tabletop
mount. The 33mm ball has 360 panning SCOMODO ORBIT
capability and precise adjustment knobs for The Comodo Orbit is the worlds first twin-grip mechanical gimbal
making measurements up to the millimeter. With camera-stabilization rig, and makes it easy to do tricky moving-camera
a hydraulic damping system, the H5 supports up video sequences. The twin-grip design reduces operator fatigue and
to 55 pounds of gear. The ballhead uses a makes it easy to pass the unit from one operator to another for those
rapid-locking quick-release plate system and through-the-window shots. The unit is self-contained, with no weights,
a -inch mounting screw. List Price: $149. motors or batteries needed. It weighs 4.4 pounds and can support up
Contact: Flashpoint (Adorama), to 11 pounds. Estimated Street Price: $1,099. Contact: Comodo,
www.adorama.com. AMT www.comodorigs.com. MS
W AJA CION & BLACKMAGIC STUDIO 4K & URSA

Known primarily for their video and computer components, AJA Video
Systems introduced their first video camera, the CION, which sports
a huge APS-C-sized CMOS image sensor with 4K capture and every
video spec you could ever want, all at an incredibly low price point for
this level of camera. With even better pricing and a native Canon EF
lens mount (the CION can be outfitted with a third-party EF mount),
Blackmagic Design announced two incredibly capable 4K imaging
systemsthe Studio 4K and the URSA. The URSA, with a 4K Super
35mm-sized sensor, is a high-end solution aimed at professional
commercial productions while the Studio Camera is built for work
in the studio. With Ultra HD and standard HD models, the Studio
has a Micro Four Thirds mount that allows virtually any lens on the
market to be adapted for use with the fully functioned systems.
List Price: $8,995 (CION); $6,495 (URSA PL); $5,995 (URSA EF);
$2,995 (Studio Camera 4K); $1,995 (Studio Camera HD). Contact:
AJA Video Systems, Inc., www.aja.com; Blackmagic Design,
www.blackmagicdesign.com. DW

6/$0.130.*4*/(
Quality, reliability and versatility.
The 17-70mm F2.8-4 lens, designed for

APS-C format cameras, delivers stunning
images in a lens 30% smaller than
conventional models.
NN'%$
.BDSP04)4.
Case and Hood LH780-03 included.
*OS is not available for Pentax and Sony mount
USA 4 Year Service Protection
4*(."64#%PDL
Update, adjust & personalize. Customization
never thought possible. Sold separately.
SIGMA Corporation of America | 15 Fleetwood Court | Ronkonkoma, NY 11779, U.S.A. | Tel: (631) 585-1144 | www.SigmaPhoto.com
Follow us Twitter @sigma_photo and Facebook.com/sigmacorporationofamerica
Editors
Picks
LYTRO ILLUM X
Offering photographs that can be refocused after they
have been captured, Lytros Illum camera is changing
the way we think about depth of field, and photography,
in general. The camera employs light-field technology to
capture not only color information and luminosity, but also
directional information of incoming light rays. Effectively,
this eliminates aperture, as you can make choices over depth
of field and focus after the fact, an exciting new approach to
photography that could ultimately eliminate the need for
separate lenses. I like the way the light-field approach gives a
slightly 3D feel to imagery, as perspective can also be altered
slightly. While its heavier than a compact camera at more
than two pounds, a 30-250mm zoom lens captures each shot
at /2 using computation rather than heavy lens elements.
List Price: $1,599. Contact: Lytro, Inc., www.lytro.com. DW
OLLOCLIP 3-IN-1 MACRO T

I always find the best macro moments
when Im not looking for them. I dont
carry my macro gear with me daily,
so for those unplanned shots
I carry the small Olloclip
Macro 3-in-1 Photo
Lens. The soft plastic
lens attachment clips
snugly to an iPhone 5/5s
with aircraft-grade aluminum
barrels housing coated glass
multi-element optics. Remove
the medium magnification 14x
macro lens to reveal the 7x SSIGMA 18-300mm F/3.5-6.3 DC MACRO OS HSM
macro lens. Then reverse the As a petite person, Im always trying to keep my camera pack as
attachment to use the 21x small and light as possible. The Sigma 18-300mm /3.5-6.3 DC
macro lens. Both the 14x and MACRO OS HSM | C lens is an all-in-one shooter that lets me cut
21x lenses come with plastic down on equipment while also ensuring I dont miss a moment while
hoods to ensure an optimal switching lenses. Specifically designed for APS-C-sensor cameras,
focus distance from the the lens has a 27-450mm focal-length equivalent for extensive
subject. A microfiber carrying range. Additionally, the lens has a 1:3 macro ratio for added versatility.
case is included to keep the Sigma has enhanced their Optical Stabilization and Hyper Sonic
lenses clean and safe. List Motor to reduce camera shake and provide quick and quiet
Price: $69. Contact: Olloclip, autofocus, respectively. The single SLD and four FLD glass elements
www.olloclip.com. AMT ensure sharpness, high-quality contrast and controls for aberration.
Extra Bonus: The lens is compatible with Sigmas USB dock, making it
possible to easily upgrade firmware and personalize focus parameters.
List Price: $579. Contact: Sigma, www.sigmaphoto.com. AMT

LEE Little Stopper, Nikon D800E LEE Little Stopper, Nikon D800E
Nikon 70-200mm f2.8 @ 180mm, 2 seconds @ F11 Zeiss 28mm Distagon, 8 seconds @ F16
LEE Little Stopper & LEE 0.6 ND Soft Grad, Nikon D800E LEE Little Stopper & LEE 0.6 ND Soft Grad
Zeiss 50mm Planar, 3 seconds @ F11 Nikon D800E, Zeiss 21mm Distagon, 4 seconds @ F11
LEE FILTERS LITTLE STOPPER

I like to be creative in my work and try to distort reality a little, giving an almost impressionist
interpretation of the scene in front of me. One of the ways I do this is by using long shutter
speeds which of course highlights motion within your composition. One has to weigh up
the effects of these long exposures sometimes too long a shutter speed will have an
adverse effect, creating motion where you dont want it; the branch of a tree or the mast
of a boat; sometimes by going very long you risk exposing your camera to too much wind,
rain or spray thereby increasing the risk of camera shake or water droplets.
On these occasions I use the LEE Little Stopper, so called not because of its size but because
of its 6 stops of light reduction, compared to the 10 stops of the LEE Big Stopper. Like the Big
Stopper, the Little Stopper works beautifully in conjunction with LEE ND graduated lters and
is a must for those photographers, like myself, who like to get it right in camera.
Jonathan Visit Us at NANPA 2015

www.jonathanchritchley.net in San Diego, CA. www.leelters.com
Editors
Pic
ZOOM H6 HANDY RECORDER X
With an included interchangeable
microphone system and high-quality,
pro-level 24-bit/96k audio capture, the
Zoom H6 includes everything I need for
working with up to six tracks of audio
capture with a DSLR or other camera
system. The adjustable X/Y mic is ideal for
most standard audio situations while an
included MS module provides choice of a
wider pickup pattern that can be adjusted in
post. Estimated Street Price: $399. Contact:
REFLECT. Zoom North America, www.zoom-na.com.DW
DIFFUSE.
WONSLOT LCD CLEANER
CREATE. LCD monitors tend to get smudged,
especially touch screens. OnSlots
LCD Cleaner makes it easy to
clean your monitor in the field, and
conveniently mounts on the
cameras hot-shoe when not in
use. Its available in four colors:
Polished Rosewood with black
or white pedestal, Piano Black and
Piano White. Add your personal
logo for a small additional
fee. Estimated Street Price:
$9-$19. Contact: OnSlot,
www.omegabrandess.com. MS
ATOMOS SHOGUN & NINJA STAR T

Weighing only 4.6 ounces, the Atomos Ninja Star is an extremely affordable,
pocket-sized video recorder ideal for use with DSLRs or from remote devices like
drones outfitted with action, POV or GoPro cameras. It gives me better and more
versatile options for video capture like unrestricted clip lengths and edit-ready Apple
ProRes video files straight from the camera. The basic recorder is a great companion
for camera operators who may already own a monitor, while the much more capable
Shogun is an alternate field recorder
solution with incorporated 7-inch monitor.
The Shogun is much more expensive than
the Ninja Star, but its capable of capturing
uncompressed RAW CinemaDNG video
for the ultimate leverage in post and editing
from cameras like the Sony a7S. List Price:
$1,995 (Shogun); $295 (Ninja Star).
Contact: Atomos, www.atomos.com. DW
sunbounce@hasselbladbron.com
ARCA-SWISS monoball p0 The leader of tripod head
design for over 45 years
Editors
Picks
creates a new revolutionary
K nobless ballhead. Its
called K nobless because
the traditional locking
knobs have been removed.
METABONES CANON EF TO
Equipped with the patented MFT SMART ADAPTER AND
(planetary) p-system, the SPEED BOOSTER T
ARCA-SWISS p0 is a unique The Metabones Canon EF to Micro
tripod head design due to its Four Thirds Smart Adapter and
precision, ease of use and Speed Booster is a smart way to
has a powerful, concentric adapt my Canon lenses to
and uniform locking force. It MFT cameras, including
features the patented gravi- Olympus, Panasonic
tational force compensation, and Blackmagic
models. Not only
thus preventing sudden
will the adapter
camera movement. The work with EF mount
ARCA-SWISS p0 is precise, lenses from Sigma,
stylish, strong and weights Tamron and Tokina,
under 10 ounces. A hand of the optical device also
steel in a velvet glove! enhances brightness
and field of view by increasing
ARCA-SWISS p0 the maximum aperture by one stop
ARCA-SWISS INC with threaded disk while magnifying a scene to make it
Phone: 480 755-3364 ARCA-SWISS p0 0.71x wider. This reduces the MFT
Mobile: 480 206-4770
A R C A Skype: rod.klukas
with quickset device slidex formats wide-angle-killing crop factor of
S W I S S E-mail: rod.klukas@arca-swiss.com starting from $ 229.- 2.0x to 1.42x, a bonus for MFT users
looking for better wide-angle coverage.
List Price: $599. Contact: Metabones,
www.metabones.com. DW
S
A DOBECREATIVE CLOUD
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At only $9.99 a month, Adobes Creative
9[[]kkgjq HY[c Cloud Photography subscription
makes a lot more sense than the
comprehensive, but often overwhelming
set of imaging programs currently offered
as Creative Cloud Complete at $49.99 a
F=O
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Lightroom 5 and a free portfolio page on
Behance, the Photography Plan includes
everything youll need for image editing. If
Kg^l Hgm[`<a_alYd <%K]ja]k an image, video or project requires a
jYhk gm[`]k 9[[]kkgja]k deeper subset of controls, Adobe offers

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Hjgl][laf_ qgmj _]Yj ^gj gn]j +( q]Yjk month each. List Price: $9.99 a month;
$119.88 a year. Contact: Adobe
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ADVERTISEMENT FEATURE
Opportunities
We had a chance to talk about Gura Gears purchase OP: Gura Gears primary focus has been on the back- GS: Tamrac, Inc., the company entered bankruptcy
of Tamrac with company president Gregory Schern. He pack form factor. Which Tamrac product lines do you in early 2014, and we (GuraGear, LLC) acquired the
talks about each brands strengths and what this deal consider important for growth as a combined company? brand and assets in a California 363 Bankruptcy
will mean for photographers who have become increas- sale, which effectively means Tamrac, Inc., the com-
ingly discriminating about their camera bag purchases. GS: Gura Gears focus is truly on world travel envi- pany is gone. That sad result was years in the making,
ronments and adaptability. The form factor that but ultimately, like the phoenix, weve been given a
Outdoor Photographer: The photo industry, as a best addresses this is a convertible backpack like chance to raise Tamrac from the ashes. Weve been
whole, and the photo bag industry, specifically, has Bataflae. Tamrac, too, has some great backpacks busy expanding our team and facilities in Utah and
experienced some challenging times over the past like the Expedition series, but products like Tamracs have a fully integrated company with individual brand
few years. In this economic climate, why would Gura System bags have been a staple for the working pho- silos and teams focused on providing awesome ser-
Gear buy Tamrac? tographer for nearly four decades. Tamracs Velocity vice, building great products and building a company
slings innovated a new carry category and continue that is healthy and focused on the long-term.
Gregory Schern: The bumpy road in the photo indus-
try has created a great opportunity for the acquisitions OP: Where will most of the manufacturing be based for
and mergers of brands that continue to hold incredible When Gura Gear each brand/company?
value but may have failed to adapt to a new environ- bought Tamrac in the
ment. Fortunately, Gura Gear was born in this chal- GS: All of our design and manufacturing starts here
lenging environment, so weve had the opportunity to
spring, it caught a lot in Ogden, Utah. We have a cool lifestyle brand called
build a business that is lean, adaptable and forward- of people by surprise. Ogden Made that is wholly made in the USA. The
thinking. We saw a tremendous opportunity to apply investment and resources weve developed here for
our business model(s) to the Tamrac brand, which
For the always forward- small-batch and custom manufacturing means that
despite its financial issues has a wonderful tradition and thinking camera bag we can sample, test and innovate hands-on before
brand heritage. The acquisition provides an opportunity moving to our higher-volume production lines in
for us to scale up what Gura Gear does well, quickly.
maker, it made all the Vietnam and China. Working in Vietnam, in particu-
sense in the world lar, is important to us, as the quality and skill level
OP: What can longtime Tamrac customers expect is tremendous and the factories are run to Western
from this new partnership? standards and best practicesit doesnt hurt that the
food is amazing, too!
GS: Longtime Tamrac customers should expect to
experience a high level of service for both legacy and OP: Gura Gear products are primarily sold directly from
new Tamrac products, as well as responsiveness to the company website or though online vendors. Will the
new ideas. We have had a lot of fun interacting with Tamrac acquisition help Gura Gear expand distribution
Tamrac customers online through social media, and in into more channels?
person and trade events. The ultimate value in Tamrac,
and one of the motivating factors for our acquisition, GS: The short answer is yes, Gura Gear products will
was and continues to be the incredibly loyal customers. continue to experience distribution growth. Over the
last year and a half, we have been expanding our retail
OP: Gura Gear has a limited, focused product offering, channels, but the Tamrac acquisition and distribution
while Tamrac offers a much broader product range. Is channels will amp that up in a big way.
Gura Gear looking to expand its range, or will we see
Tamracs line narrowed and focused? OP: Will Tamrac inventions such as Windowpane-
Mesh find their way into Gura Gear products? To
GS: The Gura Gear brand will continue to be an aspira- to be the bag of choice for thousands of photographers, what degree will design and technologies be shared
tional brand focused on the edges of demand, while the and the list goes on. The point is that for the Gura Gear between the two companies?
Tamrac brand will apply to a much broader audience. and Tamrac brands to grow, it is important to design
That shouldnt be misinterpreted to think that Tamracs around the user, not the camera, building solutions that GS: Cross-innovation will be a key to the success of
product line can or should continue to be as wide as it go well beyond a soft padded box for a camera. both brands, but ultimately, design and technologies
is today. Instead, each line should be targeted, focused have to be targeted toward the user, which will vary
and address real-world problems to getting ourselves OP: Will the two companies continue to operate inde- between brands. There is no such thing as a one-size-
and our gear to where life happens. pendently, or to what degree will they be integrated? fits-all innovation or solution.
Seized!
Gregory Schern Gura Gear, Tamrac, and Ogden Made Staff
www.guragear.com www.tamrac.com www.ogdenmade.com

@guragear @tamracphoto @ogdenmade
tech tips
Winters Sparkles
,ET)T3NOW,ET-E'Os#RISP7INTER.IGHT3KY
4ECHNOLOGY!S!(INDRANCE
[ By George D. Lepp With Kathryn Vincent Lepp ]
Let It Snow, Let Me Go!
Q
As a longtime reader of your column and one
who lives in a very cold environment, Id like to
know what kinds of subjects you look for during
the winter months? Do you have any problems with your
cameras when photographing in low temperatures?
S. Nick
North Pole
A
While the scenes and subjects of spring, sum-
mer and fall are seemingly limitless, winter
conditions offer some unique opportunities for
outdoor photography, and some of these are genuinely
amusing. If youre fortunate (or unfortunate) enough to
live where it snows, it helps a lot to see each flake as an
opportunity to be creative.
To begin with a truly desperate idea, Ive been generat-
ing some laughs by capturing time-lapse while using my
snow blower to clear the driveway. I set up the camera
on a tripod, program it to take one image every second
and get to work. The end result looks like pure fun, even
if clearing the driveway isnt actually that much fun.
You can view an example of this type of a time-lapse
that I posted on Vimeo (www.vimeo.com/86268199).
My favorite winter subject is probably ice details,
from snowflakes to the crystals that form on dried plants
and seed pods, and sometimes on windows, and icicles
on structures. Look for close-ups of crisp patterns and
designs along the edges of streams, rivers and lakes. It
can be a bit risky to work on a snowy bank with a macro
lens, so I do most of this photography with a telephoto,
or macro telephoto, such as the 180mm macro lens, to
give some safe working distance. Ice structures are com-
plex; I incorporate a lot of stacking techniques to get the
added depth of field these images demand. Ice By Design. The delicate patterns of ice that form along the edges of small
Winter is my preferred time to photograph in Yellow- waterways are favorite winter subjects. George Lepp photographed these
stone National Park. No crowds, beautiful landscapes along a creek in Lamar Valley in Yellowstone National Park. Canon EOS-1Ds
and interesting wildlife images await those willing to Mark III with EF 180mm macro lens, 18 sec. at /16 on a tripod.
don gloves and long johns.
The ubiquitous GoPro is key to documenting fun and drama kids, everyone can experience the ride the way Fido did! I sup-
in the snow. Do you ski? Attach it to your headgear and cap- pose it would work on a reindeer, too.
ture action selfies, or take video of the Extremely cold temperatures can affect camera
path you follow so others can experience
MORE On The Web function, although because I dont usually work in
the ride from the safety and warmth of OP columns are available as an archive online at extreme cold, lets say below 0 F, Ive had few such
their home offices. GoPro now offers a www.outdoorphotographer.com/columns. problems in the digital age. The things to be con-
Find tips, answers and advice from OPs trusted
dog harness, so if youve got one of those cadre of world-famous nature photographers! cerned about are that batteries dont have as much
fearless canines that likes to sled with the capacity in low temperatures and LCD screens may
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trademark in other countries.
tech tips Ranger, which wirelessly con-
nects your camera and displays
be sluggish in really cold situa- the Live View image on your
tions. Furthermore, the photog- smartphone or tablet. The larg-
raphers hands and feet wont er display helps to achieve pre-
function as expected when they cise focus, has a red hue mode
get cold and/or circulation is to save your eyes, works with
restricted by tight gloves or Bulb settings, and allows you
socks. One of the most frustrat- to capture images and change
ing cold-weather issues is that settings on the camera without
lenses and viewfinders (also touching it.
your glasses) can fog up and The standard capture meth-
then freeze, making you unable od for star trails is to set one
to capture that beautiful buck looooong exposure. The prob-
bounding through the snow. lem with this strategy is that
Other than that, winter is a great you generate a lot of noise
time to be a photographer! in the image and you have to
Some of the best winter sub- wait until its completely dark
jects, migrating or over-winter- to begin. That eliminates any
ing birds, are serendipitously foreground feature you wanted
found in abundance in more to include and emphasizes any
temperate climates. Bosque random light at the horizon. A
del Apache National Wildlife better way is to capture a se-
Refuge in central New Mexico ries of images at 30 to 60 sec-
is a fabulous setting for geese onds each, and later composite
and sandhill cranes in Novem- them in Photoshop using the
ber and December. Klamath Lighter or Lighter Color
Falls National Wildlife Refuge blend mode to render the trail.
in southern Oregon hosts geese, This will generate less noise in
eagles and swans throughout the higher ISOs and you can
the winter. And, if youre really begin the series while theres
George Lepp using the CamRanger to evaluate the exposure as he
dedicated, youll need to head still some light on the fore-
sets up to photograph an eagles nest.
south to Florida in February ground; the later images in the
and March for nesting egrets, occupied with a flashlight, so get a sequence will add to that base.
spoonbills and herons. I know its hard, headlamp, ideally one that takes a red The goal with images of the multitude
but someone has to do it. filter; youll quickly lose your night vi- of stars in the Milky Way is to record
sion with a bright white LED light, and bright, sharp points of light. Use a high
Crisp Winter Night Sky if others are working around you, they ISO (usually 1600 or 3200), depend-
Q
Ive been waiting for clear win- will appreciate the dimmed red hue. ing on the speed (maximum aperture)
ter night skies to do some Milky
Way and star trails. Any helpful Extremely cold temperatures can affect camera function, although because I dont
hints for getting the best results? usually work in extreme cold, lets say below 0 F, Ive had few such problems in the
G. Herman digital age. The things to be concerned about are that batteries dont have as much
Via email
capacity in low temperatures and LCD screens may be sluggish in really cold situa-
tions. Furthermore, the photographers hands and feet wont function as expected
A
First, choose a location free of
light pollution and a time when when they get cold and/or circulation is restricted by tight gloves or socks.
the moon is dark. The most in-
teresting night sky images are grounded Take a loupe with you to focus your of your lens. An /2.8 or faster lens is
in some way by an evocative mountain camera in Live View from the LCD ideal. The latest cameras with excellent
peak or stark foreground object, such as rather than the viewfinder. Set the Live high-ISO capabilities will give the best
a dead tree. So location matters, and its View to maximum magnification to results. If youre using a fast 35mm or
not likely to be in your backyard. That make the pinpoint stars larger. Most of 50mm lens, the exposure should be less
means you need to prepare for several the imaging youll be doing is accom- than 30 seconds in order to get sharp
hours outside on a clear, cold night; plished with the lens at its widest aper- points of light versus a streak because
photographing night skies takes time. ture, or close to it. It doesnt take much Earths movement is magnified by the
Dress warm, including gloves that al- to miss the focus and record fuzzy dots narrow field of successively longer fo-
low you to free some fingers to oper- instead of crisp stars. The loupe will al- cal lengths. A full 30-second exposure
ate the camera while keeping the rest of low you to see the faint points of light works well with really wide lenses,
your hand warm. You dont want to be on the back of the camera and get them such as a fish-eye or 16mm focal length.
stumbling around or have your hands dead-on. Another great tool is the Cam- Light painting is a creative way to illu-
minate an interesting foreground feature
while capturing long exposures of stars.
Keep a flashlight moving over the sub-
ject during the exposure, and check the
results on the LCD to see if adjustments
are needed to achieve the effect you want. MAKE YOUR SUBJECTS
Technology As A Hindrance
Q GLOW
Does it seem to you that the
artistic aspect of photography
is greatly diminished by all the
technological aids available today?
K. Minden
Via email
A
Tools in the hands of an artist A V A I L A B L E O N L Y A T A D O R A M A
yield art. If the artist adeptly
uses technology to complete
or expand his or her artistic vision,
yielding a compelling composition that
speaks to the viewers emotion or aes-
thetic sense, then technology has abet-
ted, rather than obstructed, art. On the
other hand, a mundane, albeit techni-
cally perfect, composition may dem-
onstrate the photographers mechanical
skills without displaying any artistic
quality whatsoever.
While photographic technology puts
the means for creative expression in
more hands (and thats a good thing), I
think the mass distribution of unedited o Full line of softboxes
images (often accompanied by self- for every need
praise thinly disguised as instruction o Silver reective grid lining
in the form of unedited blogs) is what
o Heatproof
drives the idea that photography as an
art has been compromised by the digi- o UV ltered diffusion material
tal age. The successive filters (photo o Aluminum alloy frame rods
and content editors at publications and o Compatible speedrings
agencies) that once prevailed to sepa- for all major brands
rate the art from the chaff are rarely
wielding their influence on the flood of
images saturating todays media. Are
we capable of making these discerning
choices ourselves? Perhaps. But who Glow R Series
has the time to waste? starting at
Softbox Square $79.95
That said, I recently had the honor Softbox Strip $
94.95 See the light with Glow at
of serving as a judge for the NANPA Parabolic $
109.95 Adorama.com/go/glow
Showcase, the annual competition of
the North American Nature Photogra-
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was replete with jaw-dropping, mind-
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See George Lepps new website

for new images and content at
www.GeorgeLeppImages.com.
outdoorphotographer.com December 2014 41
[ F A V O R I T E P L A C E S ]
Text & Phot o g ra p h y B y S a n d y S co tt
caves. The park is home to a /4.5-5.6 L IS USM zoom. I

number of natural ecosystems, dont like to use a shoulder/
with pine flatwoods, mangrove neck strap, preferring just a
swamps, salt marshes, wet- wrist strap for security. I find
lands and coastal forest, mak- that I can hold this camera-
ing it a natural paradise for a and-zoom setup comfortably
variety of bird types. A number for hours and still not miss a
of shorebirds and waterfowl shot with the zooming abilities
can be found along the plentiful and image stabilization of the
pathways like snowy egrets, lens. Ive even been able to get
brown pelicans, white ibis, ro- handheld macro shots of but-
seate spoonbills and pileated terflies and dragonflies quite
woodpeckers. Uniquely, the clearly at 400mm.
parks vegetation is also com-
prised solely of native foliage. Best Times
The park is close to another My preference for shooting
amazing county park, Fort De is the golden hours during
Soto Park, a collection of five sunrise and sunset; however,
offshore Florida Keys islands. Ive attained great results at
As the largest park within the any time of the day in the
Pinellas County Park System park. Although theres usu-
and home to more than 300 ally something of interest to
species of birds, Fort De Soto photograph all year long, the
attracts birders and photogra- greatest amount of shooting
phers from all over the world opportunities are found be-
as a gateway starting point for tween December and March.
the Great Florida Birding and The park seems to be quite
Wildlife Trail. populated with various crea-
tures during those months. OP
Weather Contact: Boca Ciega
Located in Seminole, the Millennium Park, www.
temperature of Boca Ciega pinellascounty.org/park/03_
Millennium Park averages 73 Boca_Ciega.htm.
F, roughly the same as the
statewide average tempera-
BOCA CIEGA
ture of 72 F. This makes for
comfortable exploring and
photography any time of the
Millennium Park, Florida year, with averages hitting the
low 90s in high summer. This
Essential
is also when theres the most
Location precipitation. Winters are still
When working in
With more than 175 document- comfortable, with average difficult terrain or
ed bird types, Boca Ciega highs of 69 F, but the water is tracking fast-moving
Millennium Park is one of more often too cold for swimming. wildlife, a wrist strap
than 500 stops along the Birding will change by season, can be an affordable and
Florida Fish and Wildlife Con- though plentiful wildlife can be much more portable
servation Commissions Great found year-round. alternative to more rigid
FLO
Florida Birding and Wildlife support systems like a tripod.

Trail, a 2,000-mile circuit of Photo Experience When time is of the essence,

RID
highway locations notable for Many raptors and waterbirds adding an extra point of
Boca Ciega articulation also allows you to hold
Millennium Park excellent bird-watching oppor- live and nest in the park, so it
A
your camera steady against your

tunities. A four-story, 35-foot offers a varied shooting expe-
other hand, especially useful for
wooden observation tower rience. Ive also encountered
smooth panning when capturing
overlooks Boca Ciega Bay, coyotes and fox. I prefer to video. Wrist straps can also be an
where youll find an aquatic travel light, so my standard extra step in securing expensive
preserve with miles of canals carry-around rig with which I cameras from a fall. BlackRapids
and seawalls, as well as sub- do virtually all of my shooting Wrist Strap provides a tether to
merged habitats like coral, oys- is a Canon EOS 70D camera the camera by screwing directly
ter bars, beds of sea grass and equipped with a 100-400mm into the tripod socket. Contact:
BlackRapid, blackrapid.com.
Whats Your Explore exciting nature imagery in the Your Favorite Places
ABOVE: BlackRapid Wrist Strap
gallery at www.outdoorphotographer.com. Submit your
Favorite Place? photos for a chance to be published!

basic jones
Flying High
Connecting with the landscape through
a new perspective
[ By Dewitt Jones ]
C
ruising along near Peebles, Ohio. Lovely coun- Quadcopters and other remote-controlled camera platforms are
tryside, but hardly wilderness. Corn as high as an catapulting us into an exciting era of aerial photography, giving
elephants eye, well-kept farms, green deciduous us the ability to connect with landscapes in a new way.
treesall quite a change from the wide-open west-
ern landscapes Im accustomed to. Its bucolic, but
quite immediate, and very human-centered. I missed the sense
of immense time I feel when staring at the layered rocks of the
Grand Canyon, or the feeling of immense space in the Rockies
or the Sierra. I know this landscape is just as old and, indeed,
just as vast, but surrounded by trees and man-made structures,
Im just not feeling it.
My host turns right at a sign announcing Serpent Mound
State Memorial. We park, grab our gear, walk past the small
visitors center and head

MORE On The Web down a trail toward the
OP columns are available as an archive online at mound. Very quickly, things
www.outdoorphotographer.com/columns.
Find tips, answers and advice from OPs trusted begin to change. The further
cadre of world-famous nature photographers! I go down the trailthe clos-
er I get to the moundthe
more Im enveloped by a palpable sense
of peacefulness. Not just the peaceful-
ness of a wooded trail, no, stronger and
more focused. Humanly spiritual.
We round a corner and the great ser-
pent stretches before us. For almost
1,400 feet, this great grass-covered snake
glides beneath the overhanging trees. I
know nothing of its history or purpose (I
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hadnt read the signs or brochures) but,
oh, I can feel it. Humanly spiritual and
very old. I remember the same feeling
surrounding me when I spent the night
in Chaco Canyon and sat with the stars
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overlooking Pueblo Bonito.
We walk silently by the great coiled
tail and down past the three giant coils
of the serpents body. Signs tell me that
the apex of each coil aligns with various
celestial markersthe moon and the
sun at the equinox and solstice events
of the year.
Built almost 1,000 years ago by
the Fort Ancient people, the ser-
pent is astrologically amazing, stun-
ningly beautiful and vibrationally
mesmerizing. Its hard to take it all in
from ground level, so the kind keep-
ers of the park built a 25-foot-high
observation tower. I sit atop it for al-
most an hour just drinking in the view
(photo #2, below, an iPhone panorama).
Now Im connected to time and the
land in the way I was missing on the
drive out. I let the spirit of the place
permeate me. My eye traces the body of
the serpent again and again.
But theres still a niggling in my
peacefulness; something is missing. Fi- ITS WORTH MORE THAN YOU EXPECT!
nally, it comes to me. Grand as this vista
is, I cant see the head of the serpent. If Whether consumer level, professional gear or even vintage
the tower were 100 feet high, perhaps, cameras, your used equipment can easily be turned into
but not from here. Yes, an hour ago, I cash or upgraded equipment.
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basic jones
level and, now, its beyond my view.

Ah, but in the trunk of the car is a
piece of technology that just might al-
low me to find the vantage point I seek:
my DJI Phantom 2 Vision quadcopter.
Quadcopter photography. Thats a
subject worth several columns worth
of words. Copters have given us images
that previously we could only dream
of and have presented us with ethical,
moral and legal decisions that, indeed,
we never dreamed of. Im just beginning
to use mine, but Ill share with you what
Ive learned so far: 1) Really learn to fly
before you start taking pictures; 2) When
in doubt, ask permission; and 3) Use
common sense as to when and where
you fly. (One unconscious photographer
just crashed his drone into the Grand
Prismatic Spring in Yellowstone, caus-
ing the Park Service to further harden
their ban on drone use within the parks.)
So I checked with the memorial for
permission and waited until just before
closing when almost all of the visitors
had left the site. Then I took the copter
down the path to the head of the ser-
pent and launched it into the air. On the
screen of my iPhone (seeing through
the camera on the copter), a wonderful
image appeared. Theres the mouth of
the serpent, its jaws holding a giant orb.
ONLY A FRIEND CAN Beyond, the soft hues of a Midwestern
sunset. Was I looking at a view from to-
U N S E A L H E R FAT E . day or 1,000 years ago?
I clicked the shutter, brought my cop-
ter down, packed up and headed out of
the memorial just before the gates closed.
That evening, before my computer, I re-
lived the experience all over again.
I hang in the air above the serpents
giant head, feel the power of its be-
inghow it changed and expanded the
landscape for me. Finally, I murmur a
prayer of gratitude that places like this
are preserved and that I, as a photogra-
pher, can both capture and experience
them. Thank you!
Authors Note: Serpent Mound is on
the Tentative List to be nominated as a
World Heritage Site. OP
Ever y year, hundre d s o f th o u sa n d s o f h a rp se al s Dewitt Jones ebook Celebrate Whats

are slaughtered fo r th e i r fu r. B e a frie n d fo r l i f e, Right with the World! is now avail-
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Solutions...
Keep Quiet!
[ Avoid startling wildlife with
a modern DSLR sound blimp ]
firing shutter as the photographing pub-
lic at large. If youve seen documen-
taries of some of the great National
Geographic photographers at work,
youve likely noticed how careful they
are, especially in any kind of close quar-
ters with an animal. Part of the care is
with the noise the camera makes. The
reassuring sound of a high-speed shut-
ter can be so startling to a bird that the
whole flock will suddenly take to the air.
Some wildlife pros wrap clothing
around the camera to help reduce the
sound. A purpose-built device called
a blimp does a much better job than
a photo vest wrapped around a cam-
era body, but blimps havent been an
ideal solution because they tend to be
too large and cumbersome for most
wildlife photographers. If youre a
golf fan, youve seen photographers
Do you ever think about the noise a with big camera blimps near tee
camera with a moving mirror makes boxes and lurking by the greens
every time the shutter button is pushed? of PGA Tour events on televi-
In a mechanical dance of precision, sion. If youve seen one on
the mirror flips out of the way and the TV, you know why theyre
shutter curtain opens, then closes and called blimps. Theyre nei-
resets. At each step, the various mov- ther small, nor subtle. Golf
ing parts generate some sound. Thats photographers have a very
not always a bad thing. In fact, some good idea of exactly
early digital cameras that did away with where the action will
the moving parts found that consum- be so they dont have
ers wanted the reassuring and familiar to worry about mov-
noise of a mechanical shutter, so they ing and shooting in fast,
added a fake shutter sound that played unpredictable action. Wild-
every time the digital shutter was acti- life photographers seldom
vated. Its the sound of photography, work in a similar situation.
and it reminds us that history is being Modern DSLRs are much quieter
recorded each time we see the President than film SLRs ever were, but if they
take the podium at a press conference or have a moving mirror, theyre still not
a sideline mic catches an NFL photog- completely silent. If youre a serious
rapher capturing a touchdown. wildlife photographer, you know that
Reassuring as it may be, wildlife pho- attention to detail helps you get close
tographers have never had the same love enough to get the best shots. Being care-
affair with the distinct noise of a fast- ful about what you wear, the direction of
TOP: AquaTech Scout blimp. ABOVE: A DIY blimp (this one made by Dan Tabar) can be cost-effective, but bulky and limiting.
Photo 2014 Dan Westergren FUJIFILM X-T1 Camera and XF55-200mm Lens, at 1/250 seconds at F4.8, ISO 3200.
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When the photo world switched to digital photography my quest to

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carry huge cameras around the world to do my work. Now FUJIFILM X-Series
cameras have changed my thinking. With the amazing, weatherproof X-T1,
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SOLUTIONS
the wind, how you smell and how much
noise you make add up to results. So no
matter how quiet your DSLR is, a blimp
will help you to be all that much quieter
and give you a lot more shooting flexibil-
EXPLAINING CES TO SOMEONE WHO HASNT ity if youre within earshot of an animal.
The new generation of DSLR blimps
ATTENDED IS LIKE EXPLAINING PARTICLE PHYSICS has all of the noise-reducing advantages
of their older brethren at a fraction of the
TO A HOUSECAT. size. AquaTech (kenkotokinausa.com),
a company known for producing camera
housings for water and spray protection,
makes a line of DSLR blimps that lets
you shoot silently while maintaining
access to critical camera controls. The
AquaTech Scout lineup is available for
several of the most popular DSLRs. It
looks, as youd expect, like an under-
water camera housing. Compared to
other manufactured and DIY blimps,
the Scouts are much more form-fitting,
which saves on bulk considerably.
The case is lined with sound-
dampening foam, which the company
claims reduces shutter noise by more
than 90%. The body itself is made from
polyurethane, and all of the controls are
constructed from stainless steel, high-
strength plastic or hard-anodized alu-
minum. Camera controls are logically
placed in a similar configuration as
they are on the camera body. The main
camera dial control on the back of your
body is controllable via a similar dial
on the back of the blimp housing. Scout
bodies are compatible with remote trig-
gers, and they have threaded mounting
points for attaching the rig to a mono-
pod or tripod head. You can compose
In other words, you really cant. What you can do is make sure you dont looking through the viewfinder, or in
miss what promises to be our most innovative and rewarding show ever. Live View, the blimp back has a clear
That and maybe take some pictures for the unfortunate cats left behind.
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window for the LCD monitor. A single,
easy-access latch opens the blimp and
gives you access to the camera.
In addition to the body, you attach
tubes (similar to underwater housing
ports) that are matched to your lens size.
Its critical, of course, to use the correct
tube. A wide-angle lens in a tube meant
JAN. 6-9, 2015 for a longer telephoto lens will result in
significant vignetting. And, of course, if
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the tube is too short for your lens, the
CESWEB.ORG rig wont fit in the blimp. Its impor-
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carefully fitted with a tube to be sure
it will operate at all focal lengths and
camera-to-subject distances.
(Contd on page 95)
[ B E H I N D T H E S H O T ]
Text & Pho to g ra p h y B y Jo ry V a n d e r G a l i e n
Shiprock &
I Dust Storm
got to Shiprock, here in San Juan County,
N.M., at about two in the morning, and
if youve never seen the stars in all their
radiant glory in the middle of the high
desert, please, I beg you to come to my
stomping grounds. The desert is a beautiful
place; its mystical and perilous, all the same.
At 6,000 feet, the air is crisp and aromatic
with sage, and the only light is that of the
moon and stars. When I sat at night during
the silent peace of the midnight desert look-
ing at the ominous black outline of that large
structure called Shiprock, I couldnt help but
be taken to a place of thought and reflection
alongside the ancients of old. This calm in
the night sky was about to end, as a spring
cold front would approach by dawn.
On March 26, 2014, I had the opportunity
to make the image I had pictured in my mind
because the weather conditions permit-
ted it. As the day carried on, it got windier
and windier. By noon, the prevailing west-
northwest winds were gusting well over 55
mph and sustained at 35 mph. The after-
noon hours are generally when high-desert
windstorms see their climax. I read an unof-
ficial wind report of over 87 mph that day. I
tend to believe it, too, as I can confirm a 71
mph gust with sustained 48 mph winds for
greater than five minutes at a time. Unfortu-
nately, the windshield on my truck received a
few unwanted gravel pits and chips.
I stayed in one spot pretty much all day,
waiting for the afternoon clouds associated
with a typical spring storm. As Id wait in my
truck with tripods set up in certain prede-
termined vantage points for specific com-
positions, Id run out to a particular tripod
between the waves of wind, sand and dust. I
was waiting for the light to pierce through the
clouds, illuminating a plume of dust before
the dust would reach my location. With
winds screaming over 60 mph, I had to act
fast. Sometimes, I wasnt fast enough, and
found myself cradled and fetal over my cam- put my equipment through this much abuse, ing through the clouds had paid off. All the
era and lens just to protect them from the but not a soul was out there but me, and I preconceived images in my mind were hap-
missiles of sand and gravel and other pro- knew I was creating something special. pening right before my eyes. The wind gusts
jectiles flying through the air. It was the most Then, it happenedjust as I planned it. were staying in front of me just as I wanted
extreme spring storm Ive photographed. At All these years going to Shiprock and study- (at least long enough for me to get what I
times, I did think to myself I must be crazy to ing how the slanting light would look pierc- wanted). I dont spray and pray. I dont do

Nikon D800E, AF-S NIKKOR 16-35mm /4G ED VR wide-angle zoom, 1125 sec. @ /13, ISO 100
HDR nor do I bracket. These images were Nikon D800E to 100 ISO (which is where its
carefully and meticulously conceptualized at 97.4% of the time) at /13 and 1/125 of a You can see more of Jory Vander
technically, and therefore, I metered for second to give my audience a shrinking feel- Galiens landscape photography on
the bright spots giving the tonally dark and ing with this massive structure in the back- his website at joryvandergalien.com.
enveloping feeling. With a tight focus at ground and the plume of dust racing toward You can also follow him on 500px and
35mm on a Nikkor 16-35mm lens, I set my them in the foreground. on Facebook.

Far from the Tropic zone, Chris Burkards
big-picture outlook leads to images that are
a mix of stunning landscapes, dramatic
coastlines and out-of-the-ordinary surf action
BY ASHLEY MYERS-TURNER | PHOTOGRAPHY BY CHRIS BURKARD
OFF
GRID
THE

I ever wanted to do was Shorebreak Hotels upstairs lobby next remote and intimate feeling they provide.
ot landscapes. That was to Burkards solo exhibition display. I feel like they have a sense of deso-
e first thing I was ever Its so ironic that were talking here at lation and a sense of being by yourself,
assionate about. I never the U.S. Open of Surfing, really, laughs where you can really just appreciate
really had some desire Burkard, because this is the last place the place. Ive really always sought out
to be a surf photogra- that youd ever normally see me. My places that feel wild, explains Burkard.
pher, by any means, explains Southern passions lie far away from the equator. He continues to describe the feeling
California native Chris Burkard. Yet the Burkard appears more than comfort- of immersion that first drew him to the
28-year-old has quickly made a name able in the busy, almost chaotic, atmo- field of photography. I want to be on
for himself with his iconic coldwater sphere of Huntington Beach, tossing off that peak, he says. I want to be in the
surf images, serving as Senior Staff his flip flops, casually nodding as friends ocean. I want to be a part of the action. I
Photographer for Surfer Magazine, and pass by and quickly connecting his assis- want to be a part of those moments that
shooting for clients like Toyota and tants with each other as they arrive, all arethat inspire me.
Patagonia, while becoming a prolific without breaking the flow of conversa- When Burkard started to seriously
Instagramer with over 385K followers. tion. But he says he much prefers to be consider a career as a photographer at
I met up with Burkard in Huntington off the grid. He regularly searches out age 19, he began by taming his wild side.
Beach, Calif., during the U.S. Open shooting locations in areas of Alaska, Instead of instantly diving into the action-
of Surfing, where he shot the wom- Iceland and Norway for ideal waves, sports world, Burkard moved to Utah and
ens long board event. We sat in the landscapes and climate, but also for the studied large-format photography. He
OPENING SPREAD: A serene Arctic morning on the beach with jagged peaks looming in the
background. I exposed a bit longer than normal to smooth out the waves and show off

MORE On The Web
Find a huge archive of articles on
the entire coastline. The beauty of this place keeps me coming time and time again, says the best locations for landscape
Burkard of the landscape at Hofn Beach, Jkulsrln, Iceland. ABOVE: The landscape, surf and wildlife photography on the OP
action and light all come together in this dramatic photo in the Lofoten Islands of Norway. website at outdoorphotographer.com.
Surfer Dane Gudauskas, captured at the decisive moment, makes the whole image gel.
folio shows off the essence of a full
story within a single shot. Taken at the
Aleutian Islands, a surfer rides a wave
in front of a volcano.
To me, that image is the most
important photograph Ive ever shot in
my life. I think that it sums up every-
thingmy personal style of landscapes
over people and combining the surf
and this element of action sports with
these beautiful locations, as well as my
constant search and struggle for finding
surf in the Arctic. That has been the last
five or six years of my life, searching
for these places, describes Burkard.
Honestly, I do feel like I have a
dream job, but sometimes I feel like
I have the hardest job in the world. It
takes a lot of effort and a lot of suffer-
ing. Thats not for everyone. Ive defi-
nitely had some close calls, he says.
Recurring frostbite. A busted nose and
broken bones. Shark encounters. Facing
the interior of a Russian jail cell due to
an expired visa incident. But Burkard
says his worst experiences have come
simply from the brutally harsh cold.
I was in Norway, and the water was
extremely cold. You only last about 20 to
40 minutes. It was getting to be about 30
minutes in the water and my hands were
cold, my feet were cold. It was starting
to get freezing, and then you kind of start
to make bad decisions. I always need to
remember that you have to give yourself
not only enough energy to get in, but to
get back to your cabin or your car. I got
so cold. I couldnt really stand because
my feet were total blocks. Imagine walk-
ing on wooden pegs through slippery
boulders. It was the worst thing ever.
Really gnarly. I had to have one of the
surfers carry me in. Then when youre
warming back up after freezing, it hurts
so bad. You have to go slow.
Yet, he keeps going back for more.
Yeah, I keep going back, he says. Its
totally worth it. Cause if youre not suf-
fering for your craft, then I dont think
youre giving enough to it. Its about
how can I be immersed and a part of
this landscape, whether that means suf-
fering in some way or not.
developed a selective, finely composed ocean, big granite cliffs. Thats what But theres not just a physical toll
style, and this big-picture approach can makes my heart kind of swoon for pho- to a full-immersion traveling lifestyle.
be seen throughout Burkards work. tographing things. If you look at my Theres an emotional toll, as well.
Im always looking for bold moun- work, I think most of my more iconic Burkard is a husband and father. His
tains with big contrasts, he notes. surf pictures combine a lot of those ele- continued career success means more
Thats what has drawn me to the ments. They give you a sense of place. traveling and time away from his family.
Arctic. Just that idea of redwoods on And thats all I ever aim to do. My wife is one of the most amaz-
the beach and pine trees that meet the Burkards favorite photo in his port- ing people in my life. Shes really the
Instagram, Social Media And 21st Century Success
S
ocial media has played a huge role in
my career. For me, the best form of
marketing and advertising has been
1 First and foremost, post great
work consistently.
I want to inspire people. Thats my
what that network wants to see. Theres
a good deal of curationdevelop a good
blend and mix for your channel.
social media, and Ive acquired almost every
big commercial and major job assignment
Ive ever done from that. Almost every one.
mission statement as a photographer. I
think that for social media, thats a big
part of it. I choose to post during 9 a.m.
4 Communicate with your followers.
People love Instagram because it
breaks down those barriers of access.
@chrisburkard and 5 p.m. every day, except for the Its about being open and communicating
weekends when people go out. and sharing ideas and concepts and
With an ever-growing social media
following and major commercial clients like
Microsoft and North Face that he attracted
2 Post images that can be easily
viewed on a small, mobile screen.
Youre not trying to fool someone by
being part of a community.
Burkard follows Instagramers that inspire
him, photographers and non-photographers
through Instagram, Burkard must be onto posting some kind of grainy, crazy alike. His top-10 Instagramers to follow are:
something. As social media took off, he black-and-white image that you cant
realized this could be the best marketing really make out on the phone. I think you
format for his work. He decided to put aside have to tune in to what really is going to @moneal @coldsplinters
the stress and worry of image stealing and make sense on that square. @forestwoodward @arborealis
copyright management, and instead chose
to share as much work as possible. Of
course, along the way, he has developed
3 Curate your feed for
your demographic.
Do I shoot for Instagram? No, I dont.
@mrsgrubby
@crookedelbow
@timkemple
@mypubliclands
@joeriis
@andy_best
some techniques and habits that have But if this is a network and youre selling
helped develop his following: your product, then you want to know
absolute glue that holds us together. Theres says Burkard. Its funny because
no way to be a photographer that trav- theres that old saying that the cobblers
els as much as I dotheres no way to do kids have no shoes. And its the same
it perfectly. Its a constant struggle to stay thing with my family. Im away from
in contact. I try to give 110% all the time, them so much, when Im home I dont
so Im not just coming home and partially want to pick up a camera. I just want to
being there. Nowadays, theres no excuse to be with them and stare at them and kind
not communicate. So if that means a couple of just want to think about how theyre
hundred extra dollars for a phone bill, its growing and stuff, so I dont typically
worth it to be in touch with them. have all these epic photos of my family,
Burkard is determined not to let photog- and I feel bad.
raphy take over his life, and instead keeps Im kind of purging here, adds
some activities camera-free and precious Burkard, but in this moment of vulner-
for himself. ability, its easy to see his ability to fully
I think that if everything becomes a work immerse himself in anything and every-
thing, it can kind of start to lose its savor, thing, as well as his openness to sharing
these experiences. Pervasive to all areas
of his life, this raw intimacy is what
[ Chris Burkards Gear ] continues to make his images relatable
and desirable. OP
Sony a7S
Sony a6000
Sony Vario-Tessar T* E 16-70mm /4 ZA OSS
Sony Vario-Tessar T* FE 24-70mm /4 ZA OSS
Sony 10-18mm /4 OSS Wide-Angle Zoom
Sony Sonnar T* FE 55mm /1.8 ZA
Sony FE 70-200mm /4.0 G OSS
Nikon 1 AW1
1 Nikkor AW 11-27.5mm /3.5-5.6
1 Nikkor AW 10mm /2.8
ewa-marine housing
Nauticam NA-A6000 underwater housing You can see more of Chris Burkards
F-stop Loka UL Bag with Shallow ICU photography at chrisburkard.com.
Goal Zero Sherpa Series
ABOVE: With no roads to the ocean, we

relied on ATV to travel the distance from
the village to the coast, says Burkard
about his 2013 Aleutian Islands trip.
As we crested the nal hill, we were
treated not only with a view of the
distant snow-covered volcano, but a
point with waves peeling down its right
side. It was a moment I had hoped for,
but didnt expect to seeclean waves
and a clear day in a place known as the
cradle of storms. Surfer Josh Mulcoy
carves on this wave, a speck amidst
the empty Aleutian coastline. RIGHT:
Burkard describes this scene in
Kamchatka, Russia: This is one of the
most insane sunsets Ive ever witnessed.
Everyone had to get on top of our truck
and watch as the clouds above the
distant volcanoes lit up the sky.

A s s i g n m e n t s
W i n n i n g I m a g e s F ro m T h e We e k l y A s s i g n m e n t s A t o u t d o o r p h o t o g r a p h e r. c o m
Congratulations to David Saylor, Wendy Gedack and Quynh Ton for their winning photographs from the
Reflections, Better Lucky Than Good and Starry Nights Assignments. Weve run some 200 Assignments on
the OP website, and the submissions to these were some of the very best. You can keep up to date on the
latest Assignments by subscribing to the OP eNewsletter. Go to outdoorphotographer.com to sign up and
submit your photos for a possibility of being published in the magazine as our next winner.

1
1) Reflections Assignment Winner

PHOTOGRAPHER: David Saylor EQUIPMENT: Canon EOS Rebel T3i, Canon EF-S 55-250mm /4-5.6 IS
The Dan Click Ponds in the Ritch Grissom Memorial Wetlands in Viera, Florida, are a pair of large settling ponds for the nearby
treatment plant and attract a wide variety of waterfowl throughout the year. Im fortunate to live less than a mile from there,
and it was a pretty rare event for me to see so many pelicans and spoonbills together in one place. I had been returning to
this spot every day for about a week hoping for the right conditions. The pelicans and spoonbills were using the center of the
settling ponds to preen and rest, and the water level was extremely low. When I saw this scene, I knew I had it. The water was
dead-calm, the birds distributed just right and the clouds providing a perfect mirror image. The horizon just melted away.

A s s i g n m e n t s
2) Better Lucky Than Good Assignment Winner

PHOTOGRAPHER: Wendy Gedack
EQUIPMENT: Canon EOS 6D, Canon EF 24-105mm /4L, tripod
As I traveled to Colorados San Juan Mountains area in July 2014, I had planned to photograph
the wildflowers in the region. The monsoon season had arrived in the Rocky Mountains, and I was
also hoping to capture dramatic clouds and weather. As the sun began to set, I photographed a
field of flowers just off Last Dollar Road when storm clouds began to form all around. It appeared
the drama was taking place out toward Owl Creek Pass, so I decided to go to the top of the Dallas
Divide to see how the scene would unfold. As I reached the overlook, I could see the dark clouds
surrounding the area and climbed to the top of a ridge for a better vantage point. I set up my tripod
and, in the rapidly changing conditions, the dark, dramatic clouds parted just enough for the sun to
break through and light up the rugged rock formations below.
3) Starry Nights Assignment Winner

PHOTOGRAPHER: Quynh Ton
EQUIPMENT: Canon EOS 5D Mark III, Canon EF 16-35mm /2.8L, Gitzo tripod, Acratech ballhead
I had come to Washingtons Picture Lake in the Mount Baker-Snoqualmie National Forest many times
in the past five years prior to shooting this photo and always envisioned the best way to depict this
picturesque location. In May 2013, I took a night photography class, where I learned about shooting
the Milky Way. Another member of that group and I made a plan to shoot the Milky Way at this
location. It had to be on a day when the Milky Way was in the right position relative to the mountain,
and we decided on a weekday, so we wouldnt have to deal with a lot of other photographers. In
August 2013, four of us started shooting around 10 p.m., when the sky was completely dark. It was
a time-consuming process: three rows by 15 columns for a total of 45 pictures at 25 sec./picture.
I only had time to shoot two series before the Milky Way moved too far right and off-center of the
mountain. I stitched the pictures together in Photoshop using the Photomerge function. After
merging, the picture bent upward. One group member found out we could use the Warp function to
manually pull its horizontal line straight to produce the final version of the picture.
LANDSCAPE
ASTRO
PHOTOGRAPHY
Tips, techniques and TEXT & PHOTOGRAPHY BY ADAM WOODWORTH
gear for exploring

the exciting world of
creating starry sky
scenic photos
Imagine standing on the

edge of a cliff in a remote
area overlooking the ocean
on a clear moonless night.
The Milky Way is so bright
that it reflects in the ocean,
and the way it shoots up
into the sky lines up with the
small cove in front of you.
Scenes like this are now
much easier to capture with
modern DSLRs and lenses. It
takes some practice and a lot
of patience standing around
in the dark while your camera
takes long exposures, but
the results will make you glad
you stayed up all night.
Separate Exposures For ISO 3200 and a focal length of 14mm.

Sky And Foreground This will give you stars that look close
In order to capture near-pinpoint stars, to pinpoints in a large print, but your
you have to limit your exposure time, or foreground will be out of focus (and,
the rotation of the Earth will cause the stars most likely, underexposed) because
to appear to move through your frame. Im youre focused for the stars at /2.8. For
usually shooting at 25 seconds, /2.8, using stars with minimal trails, as a rule of
How 2 >
thumb, you can divide your focal length ABOVE: Hopewell Rocks, also known as the Flower Pot Rocks, are
into 500 or 400 to get a maximum expo- natural formations of sandstone and dark sedimentary conglomerate
sure time. (I prefer dividing into 400 for found in the Bay of Fundy in Hopewell Cape, New Brunswick, Canada.
smaller trails.) Camera sensitivities have become so powerful that you now can
You could light up your foreground achieve astrophotography without specialized equipment.
in the same shot, but it still would be
out of focus. So in order to capture
pinpoint stars and a well-exposed ible at night from mid-February to
and in-focus foreground, youll need mid-November. Choose a location that
to shoot separate exposures for the

MORE On The Web has interesting foreground elements
Find a huge archive of articles on
sky and foreground at different set- the best locations for landscape that work with the Milky Way, per-
tings. You then blend them together in and wildlife photography on the OP haps arching over a rugged coastline or
website at outdoorphotographer.com.
Photoshop. My foreground exposures mountains, or lined up with a river or
will vary the focus point, -stop, ISO road. The Milky Way looks the same
and exposure length, depend- every night (not counting for
ing on the situation. I often airglow and light pollution)
try to shoot foregrounds at so focus more on framing that
ISO 1600 or lower to get a uses the Milky Way as a com-
cleaner image. If you want positional element.
to make large detailed prints, There are a number of
then youll need to be careful handy apps available for both
with noise and depth of field. Apple and Android devices
that display the location,
Camera Settings like SkySafari, Star Walk,
As always, you should be Planets and Star Chart. If
shooting in RAW mode to you have an iPhone, you
get the most out of your cam- can get the app PhotoPills,
era and editing ability. White which shows the location of
balance isnt important to a the Milky Way relative to any
RAW file, but its important point on a 2D map, the per-
for the JPEG preview that fect planning tool for land-
you see on your cameras scape astrophotography.
LCD. Most cameras also
calculate the histogram they Star Stacking
display based on the JPEG You can capture pinpoint
preview, so dialing in a white stars with even less noise by
balance that comes close to using a method that stacks
what you might want your multiple short exposures
scene to look like will cre- of the stars together before
ate a more useful histogram. aligning them and averag-
On my Nikon D800E, Ill ing them. You can do this in
often use a manual white Photoshop by masking out
balance of 3700K, but it will the foreground completely
depend on conditions. Per- from each shot, aligning the
haps theres a lot of light pol- images, combining them all
lution or intense airglow, for into a Smart Object and using
example, which will affect the median stack mode for
the apparent color of the sky. the Smart Object. However,
Utilizing your cameras long- Long exposures and clear skies are often if youre on a Mac, you can make this
exposure noise-reduction setting (dark all that youll need to capture a backdrop process a lot easier by using the pro-
frame subtraction) can be a lifesaver of stars, but perfecting the method gram Starry Landscape Stacker, avail-
when it comes to reducing hot pixels requires a knowledge of the best camera able in the Mac App store (you can
in long exposures. The downside is that settings for your project. If you plan find more info here: sites.google.com/
youll need to wait twice as long since ahead, you can even incorporate site/starrylandscapestacker/home). Ive
the camera will need to take a dark celestial bodies into a composition. been using this technique with Starry
frame with the same exposure settings ABOVE: A long exposure of Otter Cliffs Landscape Stacker and the results are
to compare noise floors. If you dont do from Acadia National Parks Boulder amazing. Ive experimented with tak-
any form of long-exposure noise reduc- Beach, Maine. RIGHT: Beneath the Milky ing 10 exposures of 10 seconds each at
tion, be prepared to spend a long time Way, Screw Auger Falls plunges 30 feet ISO 6400 and combining those, but Ive
healing hot pixels in postprocessing. into the Bear River, Oxford County, Maine. also found that just five exposures work
very well. The reduced noise level is
Composing still excellent.
With The Milky Way
Before you can shoot the Milky Exposure Blending
Way, you need to find out when and If you shoot multiple exposures for
where you can see it. In the Northern the sky and foreground, youll need to
Hemisphere, the galactic center is vis- blend them together in software. You
Tips For Night Shooting
Gear and equipment for the
best results with long exposures
ull-Frame Vs. Crop Sensor. A full-frame
F DSLR is the best choice for astro-

photography, but Ive seen great shots
taken with APS-C crop sensors and even
micro 4/3 sensors. Night photography really
pushes image sensors to their limits, and a
recent full-frame camera will get you the most
dynamic range and the least amount of noise.
Lens. Arguably the most important part of
your astrophotography gear will be your lens.
For wide-angle astrophotography, one of the
best lenses is the Nikon 14-24mm /2.8 lens,
which can be used on Canon cameras with an
adapter. This lens is sharp, even at /2.8. You
want a wide-aperture lens to let in the most
light possible for your night sky exposures,
/2.8 or greater, although most lenses that are
faster than /2.8 arent particularly sharp in the
corners, resulting in soft stars. The Samyang
14mm /2.8 lens (also manufactured under
the brand names Bower and Rokinon) is a
very inexpensive full-frame superwide-angle
lens. For APS-C crop cameras, the Tokina
11-16mm /2.8 is a popular lens.
Tripod. A sturdy tripod and secure head
are a must. Astrophotography requires long
exposures, usually 30 seconds or so for the
sky, and often much longer for the foreground.
Remote Timer. A remote timer will be
necessary to take exposures that are longer
than 30 seconds, which youll want to do
when capturing detail in the foreground. Ive
found that most of the inexpensive remotes
have a weakness in their cable design that
breaks easily, so after replacing a few of those,
I went with one by Promote Systems.
Focusing In The Dark. This will vary,
depending on your lens. On my Nikon
14-24mm, if I put the focus ring at infinity, I
know its truly at infinity (of course, I always
make test photos to be sure), but this isnt the
case with all lenses. You may need to put your
camera in Live View mode, zoom in on the
ABOVE: The lupine elds in front of St. Matthews Chapel, Sugar Hill, New Hampshire. Sharp LCD and manually turn the focus ring until you
get the stars in focus. (You want the stars to
long-exposure foreground shots will call for quiet nights. Exposure blending or stacking of multiple
appear as the smallest possible dot when
images can gain you a background of stars in pinpoint focus. zoomed in on the LCD.) When focusing for the
foreground, you can use a flashlight to light up
the foreground and use Live View to adjust
can do this manually using Photoshop focus while its illuminated.
with layer masking, or you can try Light Painting. Shooting in the dark means
Photoshops Auto-Blend Layers option. youll need to do very long exposures to get
Another option is Helicon Focus, a detail in the foreground and blend those shots
with your shorter-exposure sky shots. But
program dedicated to blending expo- you can make the foreground exposure times
sures of different focal distances. The shorter by using light painting, a technique
best tool will depend on the situation. where you use a flashlight to paint in the
I frequently use manual blending, often foreground. This can take a lot of finesse
with luminosity masks, to make com- to avoid the light looking like it was just car
plex selections. For some scenes, its as headlights blasting your scene in a very flat
manner, and sometimes it doesnt work at
easy as a gradient mask to blend the sky
all, resulting in incredibly harsh shadows and
with the foreground. You can find my See more of Adam Woodworths pho- specular highlights on things like wet rocks.
basic tutorial on exposure blending on tography and his tutorials and sign I tend to use it sparingly and more often do
YouTube at www.youtube.com/watch? up for his astrophotography work- very long foreground exposures for an evenly
v=7k5bRHegiXA. OP shops at www.adamwoodworth.com. metered scene.
How 2 >
(Fig. A)
A:KG>LL
Michael Frye takes us through the steps of
High-contrast scenes always have been difficult to process,
but Adobe made this task considerably easier with the
Process Version tools in Lightroom 4 and 5. Thanks to
revamped underlying algorithms, we now have powerful new
Highlights and Shadows tools for handling high-contrast
scenes without resorting to HDR or blending exposures in
Photoshop. In this excerpt from my ebook Landscapes in
(Fig. B) Lightroom 5, I take you step-by-step through processing a
high-contrast image in Lightroom, showing how these new
tools can make this once difficult job relatively easy.

murky reflection. But although I want to
compress the overall tonality, I dont want
to flatten the image too much. It needs to
have local contrast within the top half
of the frame as well as the bottom half.
Luckily, the Highlights and Shadows
tools in Lightrooms 2012 process do a
wonderful job of balancing high-contrast
scenes without flattening local contrast.
Is Exposure
Blending Necessary?
While photographing this scene,
I bracketed exposures just in case I
needed to blend two or more frames
together later. Is that necessary here?
I dont think so. This is the middle
exposure of my bracketing sequence,
and though it looks contrasty, the histo-
gram indicates that theres detail in both
highlights and shadows, with nothing
pushed up against either edge.
Just to be sure, I zoom in and notice
that the bright snow just to the left of El
Capitan looks washed out. So I drag the
Highlights slider to the left, all the way
to -100, to see if I can bring out more
texture in this area (Fig. B). Now there
seems to be plenty of highlight detail to
work with, so I should be able to use just
this one frame without having to resort to
exposure blending in Photoshop or HDR.
I set the Highlights back to zero and start
my regular Lightroom workflow.
Profile
The Camera Landscape profile adds
too much contrast for this image. Adobe
Final Image Standard looks very similar to my usual
ACR 4.4 profile, except that the blue sky
AB@A <HGMK:LM
getting the most out of a high-contrast landscape TEXT & PHOTOGRAPHY BY MICHAEL FRYE
Evaluation River with a great view of El Capitan. I becomes a bit more cyan. I prefer the
How would you process this image? kept switching from vertical to horizontal slightly purple tinge to the sky created by
What would you try to convey? Take framing, and from tighter to wider views the ACR 4.4 profile, so I stick with that.
a minute to evaluate this unprocessed as the light and clouds shifted. This is one
Raw file and think about what direction of the wider vertical images, with a great Crop
you might take (Fig. A). combination of sunlight and clouds. Pointing the camera up with a wide-
An early November snowstorm I want the final photograph to convey angle lens (23mm, in this case) made the
dropped five inches of snow on the drama and majesty of this classic trees appear to lean in slightly from
Yosemite Valley, coating colorful autumn Yosemite scene. That will require dark- the sides. When composing this scene,
trees with white. The skies started to clear ening the top half of the image, where I deliberately left a bit of extra room
just after sunrise, so I headed to a famil- some of the sunlit areas are on the verge so that I could straighten the trees.
iar spot along the banks of the Merced of being washed out, and lightening the Before cropping, I go down to the
White Balance
Again, there are no neutral colors in
this photograph, so the Eyedropper tool
wont help. Yes, there are some gray
areas in the rock, but the sunlight still
had a warm tinge to it, so neutralizing
that makes the image too blue (Fig. C).
Neutralizing the foreground snow makes
the image too yellow and deprives it of
its warm-cool color contrast (Fig. D).
So instead of using the Eyedropper,
I just nudge the Temp slider a little to
the right, from 5000K (the cameras
choice in Automatic White Balance) to
5368K. This warms up the rock slightly
without making the blues in the sky too
muddy or losing the natural blue tint in
(Fig. C) (Fig. D) the snow.
Lens Correction panel, click on the

Manual tab, and drag the Vertical slider
to the left until the trees look straight.
It doesnt take a big move here: -4 is
enough. I could have used the new
Upright tool in Lightroom 5 for this,
but the Vertical slider gives me more
control. In this case, I actually under-
corrected a bit; this leaves the trees still
leaning a tiny bit, but avoids distorting
the shape of El Capitan too much.
Straightening the trees has left some
blank space along the bottom and sides,
so the image has to be cropped now
thats why I left extra space when com-
posing the photograph. But I want to
crop more anyway, including the tree
along the left edge thats half-in, half-
out, and some of the reflection.
Clone
I zoom in to 1:1, then press the Home
(Fig. E) (Fig. F)
key to get to the upper-left corner. There
are some obvious dust spots, which are
easily removed with the Spot Removal edges like this, but requires more care Initial Tonal Adjustments
tool in Heal mode. In Lightroom 5, in selecting the source point to match With high-contrast images theres
pressing the A key to activate the the destination point. rarely much room to move the black
Visualize Spots mode (or checking the In this case, using the new Advanced point or white point, so rather than start
box at the bottom of the screen) helps in Healing Brush feature in Lightroom 5 with the Whites and Blacks sliders, I
finding those dust spots. to brush over the whole tree doesnt begin with the Exposure tool, just as
I couldnt completely crop out the work; the cloning doesnt blend in Adobe recommends. However, theres
half-in, half-out tree along the left edge because theres no large matching area no such thing as a perfect overall expo-
without removing too much of the to clone from. Just as when cloning in sure for high-contrast scenes because
adjacent tree to the right, so I use the Photoshop, its sometimes better to use the right exposure for the highlights
Spot Removal tool to clean this up. But a series of spots rather than trying to will be different from the right exposure
this is tricky. Heal mode doesnt work brush over a large area at once. for the shadows.
because, in trying to blend the dark tree I use the Page Down key to scroll Here, for example, with Exposure at
with the lighter adjacent tones, it cre- through the image, and I remove the my default of -1.00, the reflections look
ates dark smudges. I switch to Clone remaining dust spots, as well as the too dark, yet El Cap also looks a bit
mode, which often works better along reflections of the left-edge tree. washed out. If I push up the Exposure
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(Fig. G) (Fig. H)
slider to lighten the reflection, El Cap forth between the Adjustment Brush, Once the filter is applied, I can adjust
becomes even more washed out. If I drag Graduated Filter, Basic Tone controls and the Exposure value for the bottom part
the Exposure slider to the left to darken (sometimes) the Point Curve to achieve of the image; I decide that the +0.51
El Cap, the reflection gets even muddier that balance before going further. value is about right.
(Fig. E). I first click on the Graduated Filter El Capitan and the clouds are still
The best you can hope for is to find a tool to lighten the reflection (Fig. G). I lighter than everything else. I click on
good compromise, where the highlights set the Exposure for this tool to +0.51. the Adjustment Brush, set the Exposure
are a little washed out and the shadows a Then I click and drag on the image from to -0.46, and choose a big, soft-edged
little too dark. With this image, my default bottom to top, at a slight angle, starting brush (18), with Feather, Flow and
of -1.00 happens to match that descrip- in the water and finishing on the edge of Density all at 100, and Auto Mask off.
tion, so I leave the Exposure setting alone. the snow along the rivers edge (Fig. H). Then I brush over the whole upper part
I also leave Contrast at my default This part of using the Graduated of the image (Fig. I). It seems that this
setting of -33 for now. Ill probably add Filter can be confusing. Many people area could be a little darker, so I nudge
some midtone contrast later, either with think that you have to drag the fil- the Exposure slider down to -0.73.
the Contrast slider or the Point Curve, ter across the whole image, or across I double-check to make sure the
but only after Ive balanced the top the part of the photograph you want reflection isnt lighter than the moun-
and bottom of the photograph better. to adjust, but thats not how it works. tainsomething youd never see in real
If I add more contrast now, Ill actu- What youre defining here is the tran- life. El Cap itself is still a little brighter
ally magnify the difference between the sition areathe graduated part of than its reflection, so this looks fine.
highlights and shadowsa move in the the filter, or the transition from where
wrong direction. you want to apply the effect (in this Point Curve
Instead, I skip to the Highlights and case, increased Exposure) to where you The preceding steps have brought the
Shadows tools. The Highlights slider dont. Here, I want the transition to start lighter and darker parts of the image into
really shines with images like this. in the water and end at the snow. better balance, but it looks a bit dark and
Dragging it down to -58 brings out flat overall, so Ill use the Point Curve to
detail, texture and color in El Capitan lighten it and add midtone contrast.
and the clouds. I start by dragging the lower-left
Next, I push the Shadows slider to the (Fig. I) end of the curve to the right to set the
right, to +44, to lighten the reflection black point. As always, when setting a
(Fig. F). Id like to lighten the reflec- black point, Im just looking at the dark-
tion more, but pushing Shadows higher est pixels and ignoring the rest of the
makes the trees look flat and grayed image. In this case, I want some areas to
out. Instead, Ill use the Graduated be close to black to enhance the drama
Filter and Adjustment Brush to balance of the scene, but going too far makes the
the image further. shadows look too heavy. So I back off
to make the shadows a little more open.
Graduated Filter I dont want to move the white point
And Adjustment Brush heresome areas are on the verge of
I normally make dodging, burning being washed out as it is. So I make a
and other local adjustments my last lightening S-curve to bring out midtone
step. But with high-contrast images, contrast and brighten the photo overall
Ill often employ the Adjustment Brush (Fig. J).
and Graduated Filter earlier. With a At this point, most of the work is
scene like this, I first want to balance done. The overall brightness, contrast
the contrastto lighten shadows and and balance look good; I just need to
darken highlights. Ill go back and add some refinements.
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I drag the Whites down to -11. Then I
push the Shadows slider up from +44 to
+52 to lighten the reflections a bit more.
Presence
I add a touch more Clarity (+9) to
give the image some additional snap,
and I push Vibrance up to +12 to bring
out the colors in the rock, trees and sky.
Final Image
None of the individual colors in the
HSL panel needs adjusting, so I skip
that. Lightening shadows can bring out
noise, so I zoom in to check, but the
image is still nice and clean, and I leave
(Fig. J)
the Sharpening and Noise Reduction set-
tings in the Detail panel at my defaults.
The default settings are fine for the Lens
Corrections and Effects panels, also.
So its done! Compared with the
unprocessed file, the final image [shown
on the opening spread of this article]
has the drama and majesty I was look-
ing for, while also balancing the contrast
between the sunlit cliff, its reflection and
the shadowed trees. OP
(Fig. K) (Fig. L)
Michael Frye is a professional land-
scape photographer and frequent con-
tributor to Outdoor Photographer. His
Adjustment Brush Again ebook Landscapes in Lightroom 5,
Among the refinements Id like to excerpted here, takes you step-by-step
make are some more tweaks with the through processing six different images
Adjustment Brush. I first darken the in Lightroom, and includes eight video
clouds a bit to make El Cap stand out tutorials, plus access to the original
more (Fig. K). Then I dampen the bright RAW files used in the book so you can
snow to the left of El Cap and the reflec- follow along with the examples your-
tion of that snow (Fig. L). There are self. You can learn more and download
some hot spots on the rock that need to the ebook at michaelfrye.com/lr5book.
be toned down as well. Finally, I lighten
up the trees and some of their reflec-
tions (Fig. M). The cumulative effect
helps keep the eye on the most interest-
ing, important elements: El Capitan, its
reflection and the trees.
Tweaking Whites And Shadows

(Fig. M) Some of the brightest areas still look
a little hot, so back in the Basic panel
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BEST
CAMERAS
Of 2014
For Nature Photographers
We choose our favorite nature photography cameras introduced this year
This year saw the release of a

wide range of cameras, many
of which are great choices for
nature photography. Heres a
quick summary of our favorites
in each category: APS-C DSLR,
full-frame DSLR, Micro Four
Thirds mirrorless, APS-C
mirrorless and full-frame
mirrorless. Weve also included
the new CMOS medium-format
cameras and some other
notable introductions for 2014.
Olympus OM-D E-M1
T
his body actually came out late
in 2013, but Olympus flagship
Micro Four Thirds mirrorless
camera is also a fine choice for nature
photography. The OM-D E-M1 features
a mini-DSLR form factor that provides
comfortable eye-level viewing for video and
long-lens wildlife work, and can use Zuiko
Digital Four Thirds System lenses as well as
M.Zuiko Micro Four Thirds lenses, all with
autofocusing. A comfortable handgrip,
missing on the original E-M5 (and the classic
OM-system 35mm SLRs that inspired the
design), also helps with eye-level shooting.
The 16.3-megapixel Live MOS image sensor
features on-chip DUAL FAST AF, with 37-point
phase-detection AF used when a Four Thirds
System lens is attached and 81-point contrast
AF when a Micro Four Thirds lens is attached.
(When continuous AF is selected with an MFT
lens, then both systems work together to
improve tracking performance.) A new TruePic
VII image processor with Fine Detail Processing
II technology optimizes image quality for both
still images and video.
A new superlarge electronic viewfinder
CANON EOS 7D MARK II features 2.36 million dots and a 1.48X (0.74X
35mm-camera equivalent) magnification, with a
minimal 0.029-second display-time lag. Theres
This long-awaited successor to 2009s EOS 7D APS-C DSLR is our also a 3-inch, 1037K-dot tilting touch-screen
favorite APS-C nature DSLR of 2014. It features a new 65-point (all LCD monitor, so you get comfortable operation
cross-type) AF system thats perfectly suited for birds in flight and sports for eye-level and odd-angle shooting.
The E-M1 incorporates the excellent Olympus
action. (Note that the number of AF points, and whether they act as cross-
5-axis sensor-shift image-stabilization system,
types, depends on the lens being used.) A top shooting rate of 10 fps at which compensates for yaw, pitch, roll, and
full resolution, with AF, for up to 31 RAW or 1090 Large Fine JPEGs will vertical and horizontal shift, and works with all
also delight bird and sports photographers. lenses. The magnesium-alloy body is dust-,
A new 20.2-megapixel APS-C sensor with next-generation Dual Pixel splash- and freeze-proof. Built-in WiFi lets you
upload images to your smartphone wirelessly,
CMOS AF provides on-sensor phase-detection AF for live-view and operate the camera from your smartphone and
video shooting, improving on the system introduced in the EOS 70D. geotag images using the smartphones GPS.
Dual DIGIC 6 processors power the quick performance, and make In-camera HDR, intervalometer for
possible advanced noise reduction that provides a normal ISO range of time-lapse sequences and multiple-exposure
100-16000 for both still and video (expandable to 51,200). A 3-inch, capability are good nature photography
features, as is 10 fps shooting (6.5 fps with
1040K-dot LCD monitor enhances live viewing, but doesnt tilt or rotate. continuous AF). A big buffer lets you shoot up
Featuring a magnesium-alloy chassis, dust and weather sealing, and a to 41 RAW or 95 JPEG images in H advance
shutter rated at 200,000 cycles (with speeds from 30 to 18000 sec., and flash mode. Video capabilities include 1080p, 720p
sync up to 1250 sec.), the 7D Mark II can handle rugged outdoor shooting and 640x480, all at 30 fps. Sound is stereo via
conditions. Images can be stored on CompactFlash (UDMA-compatible) or built-in or external microphone. You can record
in MOV or AVI format.
SD/SDHC/SDXC cards (UHS-I-compatible). Theres even a built-in GPS, Besides Olympus Micro Four Thirds System
which can add the latitude, longitude, elevation and direction the camera lenses (which currently run from 9-18mm
was pointed to each images metadata. The 7D Mark II is also the first EOS through 75-300mm, equivalent to 18-36mm
to have a built-in intervalometer for time-lapse sequences. through 150-600mm on a full-frame DSLR),
the E-M1 can use all Micro Four Thirds System
The EOS 7D Mark II can use all EOS lenses, full-frame EF and APS-C
lenses, and pretty much any lens for which
EF-S, ranging from an 8-15mm fisheye zoom and a 10-22mm superwide an adapter is available. The optional Power
zoom to an 800mm supertelephoto, as well as the manual-focus TS-E tilt- Battery Holder HLD-7 provides added capacity
shift optics and MP-E 65mm /2.8 1-5x macro lens. With the sensors and controls for comfortable vertical-format
1.6X crop factor, this gives users access to focal lengths equivalent to a shooting. Estimated Street Price: $1,399.
12.8mm fisheye and 16mm superwide to a 1048mm supertelephoto on
a full-frame DSLRenough to handle wildlife, landscapes and anything
else. The camera can automatically correct for vignetting, chromatic aber-
ration and distortion. Dimensions are 5.9x4.4x3.1 inches and 28.9 ounces.
Estimated Street Price: $1,799.

PANASONIC LUMIX DMC-GH4
SDXC media; Panasonic recommends UHS Speed Class 3
for 4K video (the camera can shoot 200 Mb/s All-Intra or
100 Mb/s IPB). The GH4 also can stream real-time 4:2:2
8- or 10-bit 4K video to an external monitor or recorder.
A 2359K-dot OLED electronic viewfinder provides con-
venient eye-level operation for both still and video, while a
free-angle, 3-inch, 1036K-dot OLED touch-screen moni-
tor makes for easy odd-angle shooting.
As a still camera, the GH4 can deliver 14-bit RAW, as
well as JPEGs at 16 megapixels, at up to 12 fps in AFS
mode or 7.5 fps with continuous autofocusing. Using
the electronic shutter, shooting rates as high as 40 fps
are possible. Normal ISO range is 200-25,600, with
100 also available in expanded mode. Quick con-
trast-based 49-point AF featuring DFD (Depth from
Defocus) technology is available for both still and
video shooting, with focus as quick as 0.07 seconds.
Built-in WiFi with NFC provides easy wireless con-
nection to your smart device for remote operation, image
upload and even embedding location data via the smart
devices GPS. Optional accessories include the BGGH3 bat-
tery grip for added shooting capacity and the DMW-YAGH
Our favorite Micro Four Thirds mirrorless camera of pro audio video interface unit, which adds capabilities
2014 for nature photography was an easy choice. The including uncompressed 10-bit 4K video output.
Lumix DMC-GH4 is the latest in Panasonics line of flag- Complementing the rugged die-cast, magnesium-alloy
ship mini-DSLR-style GH-series Micro Four Thirds body is a shutter tested to 200,000 cycles. Mechanical shut-
System mirrorless cameras, and its a versatile still/video ter speeds run from 60 to 18000 sec., with flash sync up to
photo machine constructed and sealed to withstand rug- 1
250 sec. Like all Micro Four Thirds System cameras, the
ged outdoor shooting conditions. A new 16.05-megapixel GH4 can use all MFT lenses. Panasonic offers 22, from an
Digital Live MOS sensor and Venus Engine with quad-core 8mm fisheye to a 100-300mm supertelephoto (with the MFT
CPU provide quick performance and excellent image qual- sensors 2X focal-length factor, this provides focal lengths
ity, as well as 4K video capability. The GH4 can shoot 4:2:0 equivalent to 16mm through 600mm on a 35mm camera).
4096x2160 cinema 4K at 24 fps, and 3840x2160 QFHD 4K Dimensions are 5.2x3.7x3.3 inches and 16.9 ounces.
at 30 fps, in MOV/MP4 format, storing files on SD/SDHC/ Estimated Street Price: $1,699.
Medium Format
sensor, each has its own processing algo-

rithms, Bayer filter array and other tweaking
that gives each its own look. Also note that
medium-format cameras are terrific landscape use the 3-inch, 460K-dot
F
and wildlife portrait machines, but even with LCD monitor. Single-point
or medium-format fans, 2014 will the CMOS improvements, are still no match for AF functions down to EV 1, and
be remembered as the year CMOS DSLRs for action subjects like birds in flight. Hasselblads True Focus corrects for focus-
arrived. Hasselblad, Pentax and Phase Hasselblad H5D-50c. Delivering 16-bit and-recompose situations. Hasselblad offers
One all introduced models built around Sonys losslessly compressed RAW files (DSLRs are 12 leaf-shutter lenses from 24mm to 300mm
first medium-format sensor, a 50-megapixel 14- or even 12-bit) with a dynamic range of 14 (equivalent in framing to about 19mm through
44x33mm CMOS unit that solves some of stops, and shooting up to 1.5 fps, the H5D-50c 237mm on a full-frame DSLR), plus the HTS 1.5
traditional CCD-sensor medium-format digitals provides shutter speeds from 12 minutes to 1800 tilt-shift adapter, which provides view camera-
major weaknesses: poor low-light/high-ISO sec., with flash sync at all speeds. Images can like movements with lenses from 24mm to
capabilities, poor on-camera live view, and be stored on CompactFlash UDMA7 cards or 100mm. There are also extension tubes for
slow operation. Note that while each CMOS tethered computer hard drive. You can choose close-ups, and a teleconverter. Dimensions are
medium-format camera uses the same basic among eye-level and waist-level finders, or 5.3x5.2x8.1 inches and 5 pounds with 80mm

NIKON D750
It wasnt unanimous (one staffer held out for the D810), The D750 is the first FX (full-frame) Nikon DSLR with
but the new D750 is our favorite new nature camera in built-in WiFi, which makes it easy to transfer images wire-
the full-frame DSLR category, containing many of the lessly to your iPhone or iPad, and even operate the camera
same features in a more compact, much lower-priced body. from a smart device. There are two slots for SD/SDHC/
The D750 combines a 24.3-megapixel, full-frame CMOS SDXC cards.
sensor and EXPEED 4 processing to deliver enhanced image The D750 can use all current AF and AF-S Nikkor lenses,
quality and a normal ISO range of 100-12,800 (expandable but automatically will crop to DX (APS-C) format when a
to 50-51,200). That should provide good image quality for DX lens is attached. Full-frame lenses range from a 14mm
landscapes and some reach for wildlife. There are also 1.2X superwide through an 800mm supertele, plus a series of
(16.7 MP) and 1.5X DX (10.3 MP) crop modes for flexibility. manual-focus PC-E tilt-shift perspective-control lenses.
Wildlife and sports shooters will appreciate the D750s There are also 1.4X, 1.7X and 2.0X teleconverters that can
AF system. Its the same one used on the flagship pro D4S, handle pretty much any shooting situation a nature/sports
but features the Advanced Multi-Cam 3500FX II AF mod- photographer is likely to encounter.
ule, which can function in light levels as dim as EV -3, a Estimated Street Price: $2,295.
stop dimmer than the D4Ss EV -2. Eleven of the 51 AF
sensors function as cross-types, with lens/teleconverter
combos as slow as /8great news for wildlife photogra-
phers, who always can use more focal length. Group Area
AF mode also improves the ability to capture flying birds
(and other action subjects) against busy backgrounds.
A large buffer permits shooting long sequences at maxi-
mum resolution: 87 Large Fine JPEGs or 33 12-bit com-
pressed NEF (RAW), even 15 14-bit losslessly compressed
NEF images. The top shooting speed of 6.5 fps with AF
for each frame is faster than any current full-frame Nikon
DSLR except the flagship pro D4S at 11 fps. (The D610
comes in at 6 fps, the Df, 5.5 fps, and the D810, 5 fps.)
Compact for a full-frame DSLR at 5.6x4.5x3.1 inches and
26.5 ounces, the D750 features a monocoque design with front
body and cover of carbon-fiber-reinforced thermoplastics and
rear and top covers of magnesium alloy, plus sealing against
dust and rain. The 3.2-inch, 1229K-dot LCD monitor offers
the same specs as the D810s, but tilts up 90 and down 75
for easy odd-angle shooting in Live View and Video modes.
lens and battery. List Price: $27,500. RAW formats, Pentaxs The $34,990 back provides ISO
Pentax 645Z. The lowest-priced of the own PEF or Adobes settings from 100-6400, live view
three CMOS medium-format cameras at universal DNG. The on the 3.2-inch, 1150K-dot
$8,499, Pentaxs 645Z also offers the most 645Z will accept Pentax 645 lenses touch-screen LCD monitor (or on
DSLR-like experience, with 3 fps shooting and from 25mm to 400mm (and Pentax 67 lenses, tethered computer via Phase One Capture
a 27-point phase-detection AF system that via adapter), but performs best with the new Pilot), 14 stops of dynamic range, exposure
works in light as dim as EV -3 (ISO 100). 645AF2-mount lenses, currently, the D FA 645 times from one hour to 110,000 sec., and rugged
Shutter speeds range from 30 to 14000 sec., 55mm /2.8 SDM AW and D FA 645 90mm construction from aircraft-quality aluminum.
and ISO settings from 100-204,800. A tilting /2.8 Macro AW SR. Maximum flash-sync The IQ250 can shoot at 1.2 fps, and has a
3.2-inch, 1037K-dot LCD monitor, a weather- shutter speed is 1160 sec.; there are no leaf- big 2 GB image buffer to keep images flowing.
sealed, coldproof body, and the ability to shoot shutter lenses. Dimensions are 6.1x4.6x4.8 The 645DF+ body accepts a wide range of
1080 video at 60i and 30p are additional as- inches and 3.2 pounds (body only). Phase One Digital focal-plane lenses and
sets. There are two slots for SD/SDHC/SDXC Phase One IQ250. The IQ250 back is Schneider-Kreuznach leaf-shutter lenses, plus
cards, Eye-Fi cards and Flucards (which add available with mounts for a number of popular Mamiya AFD lenses, and is compatible with
the ability to control the camera wirelessly via a medium-format cameras, or you can buy it in a Hasselblad V lenses. Flash sync goes as high
smart device). You can choose from two 14-bit kit with a Phase One 645DF+ camera body. as 11600 sec. with leaf-shutter lenses.

SAMSUNG NX1
segment TTL metering system, ISO settings from 100-
25,600 (expandable to 51,200) and shutter speeds from 30
to 18000 sec. (with flash sync up to 1250 sec.) provide lots of
exposure control.
The 3-inch, 1036K-dot, tilting touch-screen Super
AMOLED monitor is complemented by a 2360K-dot XGA
OLED eye-level electronic viewfinder. All is contained in
a durable, weather- and dust-resistant magnesium-alloy
body. This makes it simple to shoot at all angles in a wide
range of outdoor situations.
Built-in WiFi and Bluetooth, with easy connect via NFC,
allow for easy transfer of images wirelessly to smartphone
or tablet, or geotag images using the smartphones GPS.
Theres also USB 3 for superquick wired transfer of images.
The NX1 is one of few still cameras that can do 4K video:
3840x2160 UHD 4K at 30 fps can be recorded directly to
the SDHC card in the camera, no external recorder needed,
and 4096x2160 4K at 24 fps can be recorded to an external
recorder. The NX1 can also do 1080 full HD, 1280x720
HD and 640x480 SD at 60, 30 and 24 fps, saving to card or
external device. Theres a built-in stereo microphone, plus
Samsungs new flagship mirrorless model is our choice jacks for external mic and headphones.
for the top APS-C mirrorless camera for nature pho- Like all NX-system cameras, the NX1 can use all NX
tography. The NX1 has a lot to offer the nature photog- lenses. These currently range from a 10mm fisheye and
rapher. The 28.2-megapixel, backside-illuminated APS-C a 12-24mm superwide zoom to 18-200mm, 50-200mm
CMOS sensor is complemented by 14-bit DRIMe V pro- and new 50-150mm /2.8 S OIS zooms. With the APS-C
cessing. BSI puts the wiring and stuff on one side of the sensors 1.5X focal-length factor, this provides framing
sensor and the light-sensitive elements on the other, for a equivalent to a 15mm fisheye and an 18mm superwide to a
better fill factorand better image quality. 300mm telephoto on a full-frame DSLR. Dimensions are
A new hybrid NX AF System III features 205 on-sensor 5.5x4.0x2.7 inches and 19.4 ounces.
phase-detection points (153 of them cross-type), plus 209 Estimated Street Price: $1,499 (body only); $2,799 (with
contrast-detection points, working together to bring you 16-50mm /2-2.8 S zoom lens, battery grip, extra battery
the speed of PDAF and the accuracy of CDAF. A 221- and charging cradle).
Fixed-Lens Cameras
T
he year 2014 also saw the shoot remotely using your smartphone or tablet. shooting with intelligent hybrid AF, and silent
introduction of a number of Video capabilities include 1080/30p full HD. electronic shutter with speeds to 132,000 sec.
larger-sensor fixed-lens compact Dimensions are 4.6x2.9x2.6 inches and 18.2 add versatility. Dimensions are 5.0x2.9x2.1
models with good features for nature ounces. Estimated Street Price: $799. inches and 15.5 ounces (with battery and
photographers. These are great take-along Fujifilm X100T. The X100T features memory card). Estimated Street Price: $1,299.
outdoor cameras, easy to carry on hikes or as an APS-C 16.3-megapixel Fujifilm X-Trans Leica X-E Typ 102. This is a straightforward
supplements to your primary camera. CMOS II sensor with a non-Bayer RGB filter compact for the fan of simplicity. Theres
Canon PowerShot G1 X Mark II. Canons array that minimizes moir without need for no video, no WiFi, no EVF, no bells and
top compact is the PowerShot G1 X Mark II, an AA filter. An advanced hybrid optical/ whistlesjust a solid, full-metal body with a
with a 1.5-inch (18.7x12.5mm), 12.8-megapixel electronic viewfinder with parallax-corrected 16.2-megapixel APS-C CMOS sensor, a built-
CMOS sensor, DIGIC 6 processing, a built-in electronic rangefinder complements the 3-inch, in 24mm /2.8 Leica Elmarit lens (equivalent
5X (24-120mm-equivalent) zoom with optical 1040K-dot LCD monitor. Classic dials simplify to classic 35mm on a 35mm camera) and
image stabilization, and a 3-inch, 1.04M-dot operation, and the built-in 23mm lens provides intuitive operation in auto and manual modes.
tilting touch-screen LCD monitor. Built-in WiFi the field of view of a 35mm on a 35mm ISO range is 100-12,500, maximum burst rate
with NFC makes it easy to transfer images and camera. Built-in WiFi, 1080/60p video, 6 fps is 5 fps, and theres a 2.7-inch, 230K-dot LCD

SONY a7S
An easy choice for best full-frame mirrorless camera
of 2014 for nature photography, the a7S fills the missing
slot in the a7 lineup. Sonys tiny Alpha a7 and a7R brought
full-frame to the mirrorless interchangeable-lens camera,
the former featuring a 24.3-megapixel Sony Exmor CMOS
sensor, the latter, a 36.4-megapixel one with no OLPF
(optical low-pass, or anti-aliasing, filter) for ultimate detail.
The a7S features a similar compact body, but with a new
12.2-megapixel, full-frame Exmor CMOS sensor thats
excellent in low light. It received the highest score ever
in DxOMark.coms sensor ratings for low-light ISO, and
has a standard ISO range of 100-102,400, expandable to
50-409,600. This makes it a great choice for dusk/dawn
wildlife photography and moonlit landscapes. Silent shoot-
ing mode minimizes disturbing of wildlife subjects.
The a7S uses the same high-precision Fast Intelligent AF
system as the a7R, but the contrast-based systems sensitiv-
ity has been improved to EV -4 (the a7 features Sonys Fast
Hybrid AF, which combines on-sensor phase- and contrast-
detection AF for improved performance on action subjects).
The a7S can do 5 fps in Speed Priority Continuous Shoot-
ing mode. Shutter speeds range from 30 to 18000 sec., plus
B. The NP-FW50 battery is good for about 320 shots per dynamic range by up to 1300%. And, for the first time in
charge using the XGA OLED Tru-Finder eye-level EVF, a Sony camera, the workflow-friendly XAVC S recording
380 using the tilting, 3-inch 921K-dot LCD monitor. format is provided, along with AVCHD and MP4 codecs.
The 12.2-megapixel sensor not only delivers excellent Built-in WiFi and NFC make wireless connection to
low-light performance, but its optimized for video. The smart devices easy. The a7Ss lens mount accepts Sony
new sensor and BIONZ X image processor process data E (APS-C) and FE (full-frame E) optics. The a7 cameras
from all of the sensors pixels with no binning or line- can also use Sony A-mount (DSLR) and many other lenses
skipping, utilizing the full width of the sensor, resulting in via adapters; the Sony LA-EA4 adapter provides phase-
better video quality, free of aliasing, moir and false-color detection autofocusing with A-mount lenses. The optional
artifacts. QFHD (3840x2160) 4K video requires output to Battery Grip VG-C1EM provides comfortable vertical-
an optional third-party 4K recorder, but you can record full format shooting and extra battery capacity, important for a
HD 1920x1080 directly to a memory card at 60p, 60i, 30p camera thats always in Live View mode. Dimensions are
or 24p. In APS-C crop mode, you can record HD 1280x720 5.0x3.7x1.9 inches and 15.7 ounces.
video at 120 fps for a 5X slow-motion effect. S-Log2 Estimated Street Price: $2,499.
gamma (common to Sonys pro video cameras) expands (Contd on page 84)
Fixed-Lens Cameras
monitor. Dimensions are 4.9x2.7x2.0 inches counter itis resolution equal to that of a Sony RX100 Mark III. Sonys best
and 11.1 ounces. Estimated Street Price: Bayer sensor of 1.5X to 2X the Foveons pocket camera weve ever made, the new
$1,795. Leica also offers the X Typ 113, with horizontal-by-vertical pixel count, which, in the RX100 Mark III adds a built-in pop-up EVF
the same sensor, 23mm /1.8 Summilux lens, Quattro, is a substantial 5424x3616, or 19.6 to the features that made its predecessors
3-inch, 920K-dot monitor and larger body megapixels. The dp2 Quattro has a built-in so popular. Other features include a built-in
(5.2x2.9x3.1 inches, 15.9 ounces) for $2,295. 30mm lens designed specifically for the sensor 24-70mm (equivalent) /1.8-2.8 Carl Zeiss T*
Sigma dp2 Quattro. The dp2 Quattro (equivalent to 45mm on a 35mm camera), and zoom, 20.1-megapixel, 1-inch (13.2x8.8mm)
features a unique look and a unique Foveon a 3-inch, 920K-dot LCD monitor. Dimensions CMOS sensor, 3.0-inch, 1229K-dot tilting
image sensor, which stacks three layers are 6.4x2.6x3.2 inches and 13.9 ounces. By LCD monitor, WiFi with NFC, 1080/60p video
of pixels instead of using traditional RGB the time you read this, there should be a dp1 and a built-in 3-stop ND filter. Dimensions are
filters to provide color information. The Quattro, with similar specs, but a 19mm lens 4.0x2.3x1.6 inches and 10.2 ounces (with
resulteliminating Bayer-sensor aliasing designed for the sensor. Estimated Street battery and memory card). Estimated Street
and the blurring AA filter generally used to Price: $999. Price: $799.

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O K I DATA IBM APOLLO S AV I N PA N A S O N I C Digital Bolex. Bolex gained fame as
a maker of 16mm movie cameras, and
now their name has gone digital, with
the Digital Bolex D16. It saves cinema-
quality, 12-bit, 4:4:4 Adobe CinemaDNG
(RAW) video output to CompactFlash
cards or internal 250 GB or 500 GB
solid-state drives. The 3.6x3.3x7.1-inch
camera comes with a 4.5x1.5x2.6-inch
pistol grip and is readily hand-holdable.
All this and an internal battery good
for three to four hours make the D16 a
good outdoor location camera. The D16
comes with a C lens mount, and a PL
mount is available (with others to come
in the future). It can do 2048x1152 2K
in Super 16mm mode and 1920x1080
full HD in 16mm mode. Estimated Street
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www.digitalbolex.com
Outdoor Photographer
travel wildlifescenics
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Classes Tours
| S p o n s o re d B y
&Workshops |
Russ Burden
Nature Photography Tours
| Year-Round |
Join Outdoor Photographer Tip Of
The Week columnist Russ Burden on
one of his nature photography tours
across the U.S. and to the Serengeti in
Tanzania. Hell demo the techniques
used to capture the photos he posts on
the OP website. Burdens enthusiasm
is contagious. Experience his unre-
lenting energy and desire to share his
photographic knowledge and passion.
Hell bring you to the best locations at
the best times of the year and share the
insight he has built up over his 30-plus
Bob Evans
years of teaching. Do you want a tour
leader whos intimately familiar with
every location and loves what he does?
Do you want a tour leader whose return
Winter In Yosemite Kodiaks guided photography expedi- rate of past participants is off the charts?
| Feb. 12-15 & Feb. 15-18, 2015 | tions to Katmai National Park and the Then join Burden for an experience of
Winter in Yosemite is an amazing time Kodiak Archipelago. The Katmai and a lifetime. Hell teach you how to read
for photography. Summer crowds are Kodiak coasts provide unaltered the light, create the optimum compo-
gone, and the skies are clear. Pro photog- shoreline habitat for one of the most sition, improve your technical skills,
rapher Bob Evans invites you to join him spectacular bear-viewing locations in and hell motivate you to capture the
for one of two outstanding sessions. He the world. Limiting group size to a ultimate image. Burden limits all but
has been shooting Yosemite for over 20 maximum of four guests allows one of his domestic workshops to five
years and has extensive knowledge of all each photographer optimal time and participants, so youll always be given
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Horsetail Falls. Both sessions include disturbance to the bears normal Tanzania, each of the six photographers
hands-on instruction, critiques, new fea- activity. During June and early July, will have his/her own row in the two
tures of Photoshop CC and Lightroom witness them foraging in meadows tour vehicles. Burdens stock images
5, and a luncheon. These workshops are for sedge grasses; August and early are marketed through Getty Images and
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techniques are included in this work- clams at low tide. Cubs nurse from the Burden Nature Photography Tours,
shop. Evans shoots along with every- time theyre born until theyre two to (720) 560-6123, rburden@ecentral.com,
one and has ample time to devote to the three years old. Guided daily shore www.russburdenphotography.com
whole group without handing them off excursions put you in the
to an assistant. Many of the workshops right spot at the right time
include up to 90 percent repeat partici- to create images youll
pants, a testimony to the quality of these remember forever. In addi-
events. All this for only $450. This is a tion, there are multiple pho-
great opportunity for winter shooting in tographic opportunities for
beautiful Yosemite. whales, sea otters, seals, sea
For more information, contact: lions, Dalls porpoise, puf-
Scenic Light, (916) 223-5211, www. fins and eagles, plus spec-
sceniclight.com/workshops. tacular scenic landscapes.
For more information,
Adventure Kodiak contact: Adventure Kodiak,
Russ Burden
| June-September 2015 | (855) 337-6532, info@

Capture some of Alaskas coastal adventurekodiak.com,
brown bears (grizzlies) with Adventure www.adventurekodiak.com.
90 Outdoor Photographer outdoorphotographer.com For more workshop listings, go to www.outdoorphotographer.com
The Master Print with Vincent Versace; Video
for the Photographer with Rob Sheppard;
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Classes Tours
| S p o n s o re d B y
&Workshops |
Ultimate Guide To
Workshop Listings Online
Visit outdoorphotographer.com & click
on the Locations tab for the ultimate guide
to Classes, Tours & Workshops, plus pho-
tos. This directory will help you pick your
next workshop from a listing that includes
some of the best programs in the world!
Bhutan Cross-Country
Photo Tour
| Sept. 19, 2015, 15 days in country |
This heavily forested and sparsely
populated Himalayan kingdom truly
rates being called the worlds Last
Don Smith
Shangri-La. Known as the Land of
Gross National Happiness, Bhutan is
bordered to the north by Tibet and India
Don Smith Photography tions in Peru, India, Guatemala, to the south. The country is home to just
| Year-Round | Myanmar, Romania, Turkey, Mexico, 600,000 people90 percent are farm-
If youre looking for a workshop that Central Europe and Southeast Asia. ers, with many of them living a days
combines great photographic locations, What makes Jim Cline photo tours dif- walk from the nearest road. Join award-
classroom instruction in workflow and ferent is that Jim Cline and Karl Grobl winning photographer and Bhutan spe-
vision improvement, and a fun and have established personal relationships cialist Robin Smillie on this unique
encouraging atmosphere, then look no with people in the places where tours itinerary that has participants travel-
further than one of many workshops are led. This allows for special access ing in cars, not a bus, across the entire
offered by Don Smith. Smith has been by group memberssomething that country, with each traveler assigned a
teaching group workshops for the past would be nearly impossible when trav- personal Bhutanese fixer. Relying on
nine years. Hes proud of his 60% return eling with other, larger tours. Explore trusted relationships built over the past
rate, a testament that his students learn and photograph magical Machu 27 Bhutan tours, this group sponsors
and like the pre-planning of all his loca- Picchu in Peru, the Day of The Dead several private events: two Buddhist
tions. This 40-year professional holds celebrations in Oaxaca, the Gray Whale festivals in small villages where partici-
annual workshops in Big Sur, Northern migration to Baja California, or the pants are permitted to photograph inte-
Arizona, Columbia River Gorge, Kauai, Mayan World in Guatemala or Chiapas. riors of temples and festival dressing
Grand Canyon Monsoon Season, Grand Join humanitarian photojournalist Karl rooms; participate in an archery match;
Teton, Arches/Canyonlands/Monument Grobl on a journey to experience and tour village farmhouses; interact with
Valley and Bryce/Zion. New workshop photograph Cambodias Angkor Wat, school children. Community tourism at
locations will be announced within the or the unspoiled beauty and tranquility its best. Limit 16 travelers in eight cars.
coming month. Most days start with of Myanmar. Explore and photograph For more information, contact: (813)
two location shoots. Smith believes that Vietnam, the beauty of the Philippines 839-4466, www.rainbowphototours.com.
the correct light is paramount to where or the amazing spectacle of the
he plans his location shoots. He has his Pushkar Camel Fair in Rajasthan,
students on location 45 minutes prior to India. Or opt for the great cit-
sunrise to capture the beauty of dawn ies of Central EuropePrague,
light. Class sizes are limited from 10 to Budapest, Krakow and Berlin, as
12 students; a second qualified instruc- well as Turkey or Romania. Every
tor is always included. Jim Cline photo tour is well-
For more information, contact: (831) planned so small groups are in the
630-3778, don@donsmithphotography. prime photo locations at the opti-
com, www.donsmithphotography.com. mum times to take advantage of
the best photo opportunities.
International Photo Tours For more information, contact:
Robin Smillie
| Year-Round | Jim Cline Photo Tours, (877) 350-

Join a small-group photo tour and 1314, info@jimcline.com, www.
discover the best photography loca- jimcline.com.
92 Outdoor Photographer outdoorphotographer.com For more workshop listings, go to www.outdoorphotographer.com
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Classes,Tours
Alaska
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Creative Macro & Garden

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www.charlesneedlephoto.com
425-968-2884
Featuring the instruction team of

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Wolves-Wolves-Wolves Workshops & tours at great locations

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Outdoor Photographer outdoorphotographer.com For more workshop listings, go to www.outdoorphotographer.com

Glen Canyon Field School
Lens on the Lake
Classes,Tours
Gary Ladds Photographic Exploration
of Glen Canyon & Lake Powell
GlenCanyonFieldSchool.org (928) 640-3900
&Workshops
| Sponsored By
Join us at some of North Americas and the
worlds most inspirational locations. Usually
not more than 8 participants per instructor. In
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Our Schedule:
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Jan 28 - Feb 01 - South West Florida Birds
Feb 02-06 - South East Florida Birds
Feb 26-Mar 07- Baja CA Whales
Apr 11-13 - Texas Wildflowers
Apr 06-17 - Patagonia
Apr 20-24 - FL Everglades Experience
May 19-24 - Northern Arizona
Jul 01-05 - FL Summer Skies & Lightning
July 18-28 - Iceland
Jul 26-Aug 01 - Canadian Rockies
Aug 02-10 - SE Alaska, Juneau to Wrangell
Aug 06-09 - Glacier NP, MT
Aug 16-21 Lake Clark NP, AK Bears
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and click on Classes, Tours & Workshops outdoorphotographer.com December 2014

Classes,Tours
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Great Photographic
Adventures
Join The Discussion

With Other
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June 14 - June 23, 2015
aboard the Ocean Endeavour
Travel with the Canadian
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SOLUTIONS SOLUTIONS
(Contd from page 48) (Contd from page 108)
The Scout housings use AquaTechs
BT tubes. Theyre available in several Panel Type
lengths. For example, the Scout 5D3 The LCD panel is composed of sev-
for the Canon EOS 5D Mark III can be eral layers, including a layer of liquid
fitted with BT lens tubes for the follow- crystal cells. The panel type is deter-
ing lenses: mined by how the cells naturally align.
Placing an electrical charge on the cells
causes them to shift their orientation,
allowing the backlight to shine through.
Think of the liquid crystal array as a set
of window blinds that opens and closes
in response to an electrical charge.
Panels are identified by the original
orientation of the cells and how they
change when stimulated. Each con-
figuration has its pluses and minuses.
Twisted Nematic panels are okay for
office work, but poor for photographers
because color reproduction isnt very
accurate. Also, the viewing angle is
quite narrow. Vertical Alignment pan-
els offer better color (some say the best
blacks), but theyre slow.
The better overall choice is the IPS,
or In-Plane Switching panel. The liquid
crystal cells are arranged in a horizontal
pattern that creates an opaque mask that
blocks the backlight and renders the
screen black. When current is applied,
the cells rotate through 90 to make the
backlight visible. This panel type offers
the best combination of superlative
image quality, consistent color, desir-
able contrast ratio and wide (nearly
180) viewing angle. OP
35mm /1.4 L lens:
BT-90 tube
50mm /1.2 L USM lens: Calibration
BT-65 tube or the best performance out of any
85mm /1.2 L II USM lens:
BT-100 tube
24-70mm /2.8 lens:
F monitor, color calibration is
necessary. Actually having all of
your devicesDSLR, smartphone,
tablet, laptop, desktop monitor and
BT-160 tube printercalibrated is the best way to
24-70mm /2.8 II lens: be sure the scene you see in the field
BT-145 tube ultimately will print the way you envision.
24-105mm /4 lens: The X-Rite i1 Pro system was built
BT-160 tube for photographers who need the best
70-200mm /2.8 IS lens: possible calibrated workflow. Its
available in several configurations.
BT-215 tube
X-Rite also makes the ColorMunki color
70-200mm /2.8 IS II lens: management solution, which the
BT-215 tube company bills as
their ultimate
Although AquaTech is a well-known simplicity system.
underwater housing manufacturer, their ColorMunki is
also available in a
Scout blimps arent waterproofnot
number of bundles.
even for use in the surf zone or shallow Contact: www.
water snorkeling. Really. Do not try it xritephoto.com.
at home. OP
market place [ Your source for products and services ]
Joel Sartore, www.joelsartore.com

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800-550-9254
gadget bag
The Photographers
We look at the latest
smartphones, and how
their cameras and other
features can benefit you
BY ASHLEY MYERS-TURNER
pixel size of just over 7 microns. Individual

pixels used in smartphones range from 1 to
2 microns. A 1.4-micron pixel captures one
full stop of light more than a 1-micron pixel.
Aperture is another factor to consider
when looking at the smartphone camera.
Typically, smartphones provide apertures in
the /2 -/2.4 range. An /2.4 aperture will
provide a wider depth of field for a sharper
photo with less chromatic aberration. But
an /2 aperture provides 50% more light
than the /2.4. The /2 aperture has more
technical components, making it more
The digital age has brought photo and determining photo quality comes from the expensive to produce, and this can be seen
video technology to the masses. sensor. Smartphone sensors have a small in the overall price of the phone.
With media moving toward web and size range around 1/1.5 to 1/3. This Stabilization is increasingly being
photo-focused apps like Instagram, the means that a Micro Four Thirds sensor is integrated into smartphones to ensure
ease of sharing has become crucial. 13 times the size of a smartphone sensor, sharp still photos and stable videos. Most
Embracing the idea that the best camera an APS-C sensor is 21 times the size and phones use electronic image stabilization,
is the one you have with you, smartphone a full-frame sensor is 50 times larger. The which creates sharp photos by increasing
manufacturers have been working to physical anatomy of a large sensor provides shutter speed and provides the opportunity
increase the quality of their integrated barriers between pixels to prevent
cameras. Because of this, many people light spillage, but small sensors
are now using their smartphones as a dont have the space for this, so
point-and-shoot replacement, and often theres increased flare and
professional photographers are relying on reduced contrast.
the devices as go-to second cameras, As with any camera,
particularly useful for photojournalism. megapixels are influential in photo
Just like choosing a new camera, quality. More pixels mean smaller
photographers of all levels should be pixels. This equates to more detail,
familiar with the pros and cons of each which is useful when employing
smartphones camera before committing zoom. Fewer pixels increase pixel
to a new system. Here, we break apart size. Larger pixels will provide less
a few of these specs and take a look at detail, but will increase the amount
high-quality camera options built in to of light gathered, reducing noise.
current smartphones on the market. A full-frame sensor with 16
Of course, one of the big factors in megapixels will have an individual
ABOVE: Apple iPhone 6; RIGHT: HTC One M8
gadget bag
to create merged burst shots to reduce stabilization. Video can be shot at
blur. When shooting video, electronic 1080p and 720p at 30 fps, 25 fps or
image stabilization zooms in slightly, 24 fps. The Lumia 1520 is available in
creating a buffer of pixels along the 16 GB and 32 GB capacities with
outside of the sensor to compensate for a microSD slot for up to 64 GB
camera shake. Smartphones with optical additional memory and 7 GB of free
image stabilization rely on the physical cloud storage. microsoft.com
structure to steady the lens. Because it
doesnt rely on reduced shutter speed, Samsung Galaxy S5
theres typically an increase of 1 to 2 The Samsung Galaxy S5
stops, producing less noise. But creating measures 142x72.5x8.1mm with a
the optical image stabilization is more 5.1-inch, 1920x1080 resolution
costly than electronic image stabilization. display screen. The 16-megapixel
As you increase your usage of a sensor is 1/2.6 with each pixel
smartphone for photo and video capture, measuring 1.12 microns. The
its important to look at the memory camera utilizes an /2.2 aperture with
capacity and other forms of file phase detection AF, electronic image
storage that comes with a smartphone. stabilization, and simultaneous video and
Some phones offer only internal storage, still recording. Video can be shot at
while others offer a microSD slot for capacity with a microSD slot for up to a 2160p30, 1080p60 and 720p120. The
expansion or additional cloud storage. 128 GB microSD card. htc.com Galaxy S5 is available in 16 GB and 32 GB
capacities with up to 128 GB microSD
Apple iPhone 6 And 6 Plus LG G3 expansion. samsung.com
The iPhone 6 is 138.1x67x6.9mm, with a LGs G3 is 146.3x74.6x8.9mm, with a
4.7-inch display with 1334x750 pixel 5.5-inch screen that displays Quad HD Sony Xperia Z3
resolution. The 1/3 sensor contains 8 2560x1440 pixel resolution. The Sony IMX The Sony Xperia Z3 measures
megapixels with a 1.5-micron pixel size. 135 1/3.06 sensor has 13 megapixels 146.05x71.88x7.11mm with a 5.2-inch,
The camera has an /2.2 aperture and at a 1.2-micron size per pixel. The /2.4 1080x920 full HD display screen. The
uses auto electronic image stabilization. aperture still camera utilizes optical image 20.1-megapixel, 1/2.3 Exmor RS
The iPhone 6 also provides phase stabilization, as well as laser AF and ISO sensor has a max ISO of 12,800 and offers
detection AF, face detection and increased control. Video mode allows for 3840x2160 an 8x zoom. The Xperia Z3 provides face
personalized exposure control. Video is 4K 30 fps and 1080p30 shooting with detection, HDR and SteadyShot digital
shot at 1080p30 and 1080p60, or in digital image stabilization. The G3 has a 32 image stabilization. Video can be shot at
Slo-Mo mode using 120 fps or 240 GB storage capacity with up to 128 GB 2160p30, 1080p60 and 720p120.
fps. The iPhone 6 Plus is a bit larger at microSD expansion. lg.com/g3 Available in 12 GB and 32 GB internal
158.1x77.8x7.1mm with a 5.5-inch full HD memory, the smartphone has a microSD
resolution display. The camera specs are Nokia Lumia 1020 And 1520 slot for up to 128 GB of expanded
the same as the iPhone 6, but the iPhone 6 Nokia offers two high-quality memory. sonymobile.com OP
Plus uses optical image stabilization. Both smartphone cameras. The Lumia
are offered in 16 GB, 64 GB and 128 GB 1020 is 130.4x10.4x71.4mm
memory capacities. apple.com with a 4.5-inch, 1280x768
resolution display. The 41-megapixel
HTC One M8 PureView sensor is 1/1.5 with a
Measuring 146.36x70.6x9.35mm, the 1.1-micron pixel size. The camera
HTC One M8 features a 1080p full HD uses an /2.2 aperture with a max
5-inch display. Using a BSI 1/3 sensor, ISO of 3200 and a high-resolution
the dual 4-megapixel sensors have a 3x zoom. Video mode shoots
2-micron pixel size (5 megapixels front, 1080p30 and utilizes optical image
4 megapixels rear). An additional chip is stabilization. The Lumia 1020 is
paired with the sensors to greater available in a 32 GB capacity and
distinguish foreground and background comes with 7 GB of free cloud
depth. The 28mm wide-angle lens has storage. The Lumia 1520 is slightly
an /2 aperture. While the One camera larger at 162.8x85.4x8.7mm with a
previously utilized optical image 6-inch, 1080x1920 resolution
stabilization, the addition of the chip display screen. The 20-megapixel
necessitated the switch to Smart PureView sensor is 1/2.5 in size
Stabilization software. Video is shot at with 1.1-micron-sized pixels. The
1080p30 or 720p120 for slow-motion /2.4 aperture lens has a max ISO
capability. Its available in a 32 GB of 4000 and utilizes optical image
ABOVE: Samsung Galaxy S5; RIGHT: Sony Xperia Z3
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DC )4. $ / 4 4* $50 649.00** DG &'4VQFS'MBTI $ / 14* 4" 4*&' $30 225.00**
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Digital Rebel T5i DSLR EOS-6D DSLR
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The Professionals Source
EOS-70D DSLR EOS-5D Mark III DSLR

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64.** ........................................ .............. ..................
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Pixels
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212-444-6653
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122014
Solutions...
THE
MONITOR
DEBATE
LED vs. LCD, connectivity
and morewhich screen is right
for you?
BY JON SIENKIEWICZ
If you edit digital images, you inter-

act with your computer monitor more ABOVE: Apple Thunderbolt Display
than with any other device, even more
than with your camera. The seem-
ingly humble monitorwhich might
be mistaken by the unenlightened for
a piece of office furnitureis in real- keep several Photoshop menus open at monitor is a liquid crystal display that
ity your window on the digital world. the same time without cramping. Most uses a cold cathode fluorescent (CCFL)
So it makes sense that you should be monitors, even large ones, have a rela- backlight behind an LCD shutter. An
meticulous about the monitor you use, tively small footprint, so odds are, vir- LED monitor is an LCD display that
and make an informed choice when its tually any size will fit on your desk. uses an LED (light emitting diode)
time to upgrade. Here, were not look- Go with full HD 1920x1080 resolu- backlight. Therefore, all LED monitors
ing at specific models as much as the tion, assuming you have a late-model are LCD, but not the converse.
key technology you should be aware of video card that supports it. That combina-
when youre considering any model. tion delivers a 16x9 aspect ratio, ideal for Interfaces
There has never been a better time video editing and perfect for still images. The interface on your new monitor
to buy a monitor. The performance- To avoid potential neck and back strain, must match the interface on your video
per-dollar quotient is the highest it has look for a monitor that has a stand that card. VGA (D-Sub 15-pin) is still the
been in recent memory. There are a few adjusts for both height and angle. If your most common; HDMI is the latest. DVI,
things to keep in mind, and well begin favorite comes with only a fixed stand, which is essentially HDMI without the
with the most obvious: Size. consider buying a desk mount with an audio signal, is still quite popular. If
Unless your workspace is so small articulating arm. Some monitors feature you drive a Mac, you may encounter a
that you can touch all four walls at the USB ports or speakers as an added bonus. Display Port or Thunderbolt video inter-
same time, buy the largest monitor you These may be nice to have, but shouldnt face. Many graphic cards and adapters
can afford. Not only will you be able to be the basis for your buying decision. offer more than a single interface type;
see details in your images from a com- LED or LCD? Many misunderstand find out what your card prefers and buy
fortable distance, youll also be able to the difference. What we call an LCD a monitor with a port to match.
Major Performance
Differentiators
The Pixel Response Rate, sometimes
referred to as latency, is a measurement
of how long it takes for an individual
pixel to cycle from full black to pure
white and back to full black. Be careful,
as some manufacturers use a different
standard: gray-to-white-to-gray. Shorter
times are better. Expect to see specs in
the 2ms to 7ms range; however, your
eyes probably wont see much difference
except, perhaps, when watching video.
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122014
last frame

Happy Holidays
From All Of Us At Outdoor Photographer Magazine!
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Outdoor Photographer - December 2014 USA

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CONTENTS

December 2014 Scenic Travel Wildlife Sports Vol. 30 No. 11

Check out our website @ outdoorphotographer.com More On

AS AMBITIOUS AS YOU ARE

Image shot with the Olympus OM-D

Move into a New World

76 BEST CAMERAS OF 2014 FOR

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Just to get one shot.

Exhibition-quality prints from 13 to 17 wide

PRINTED IN THE U.S.A.

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Introducing the worlds smallest and toughest

7R, f/10, 1/160, ISO 100, Lens used: 85mm F1.4 ZA

The future of digital imaging.

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Honorable Mention Honorable Mention

Inspiration knows no distance.

HOYA EVO ANTISTATIC FILTERS X

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Lambda & LightJet prints on

*Pictured: House of Savreda by Werner Pawlok, from LUMAS.COM

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TonONE PERFECT PHOTO SUITE 9

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The 17-70mm F2.8-4 lens, designed for

OLLOCLIP 3-IN-1 MACRO T

32 Outdoor Photographer outdoorphotographer.com W More gear online: www.outdoorphotographer.com/infocus

LEE FILTERS LITTLE STOPPER

Jonathan Visit Us at NANPA 2015

ATOMOS SHOGUN & NINJA STAR T

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