Related Local Links:
Airport Xrays vs. Film Alert
Developing Your Photographic Strengths
Gear Lists (gadgets..)
Permits, Permission, and You Can't Publish That!
Related Links:
25 tips for Nature Photographers [2/2003]
Africa Photo Trip Experience
Buying Grey Market (includes Customs Forms info)
Kodak's What Film To Take On A Vacation FAQ
Mosquito Magnet/killer [7/2001]
Neotropical Photography (tropical forests are dark etc.) [6/2001]
NY Instit. of Photography Travel Tips Articles
Photo-trips Gallery [8/2002]
Photography in Ireland group [12/2000]
Travel Photo Links
Travel Photo Webring
Travel PhotoBooks
Travel Tips (packing, insurance..) by Jay Hargett [6/2001]
Mailing Lists:
[email protected]
The travel photography related postings below provide lots of tips that can save
you much upset and missed shots and opportunities. See our
photo gear lists to make sure you don't forget something important! Take lots
of film, but be wary of xray machines if traveling by air.
Several photo books on traveling are recommended. Susan McCartney's
Travel Photography (revised) is an excellent over-view for the serious amateur
or semi-pro, with many tips on getting organized. Carl and Ann Purcell's book titled
Traveling Photographer is another good and inspirational guide.
If you are going
to a specific area, it may be well to check for photography related travel books. For example,
Galen Rowell has a number of books which shed light on issues of mountain photography (or
see David Higgs book by that title). There
are also a number of photoguides to specific cities and regions, such as Kent in the U.K.,
which can be very helpful for visiting photographers on a short trip who want to see - and
photograph - it all ;-) Good Luck!
Hint: use the "find" feature of your browser (usually Control-f on PCs or Command-f on Macs)
to quickly search for keywords like mountain or africa in the postings below...
Hope you have a good trip. I spent March in India (my third trip)and had a
great time. Can't wait to go back!
the level at which you will be travelling makes a big difference in the
amount of gear you can practically handle. If you are travelling alone on
a budget (backpacker style) you will have different concerns than if you
are in a small group travelling in style... Also where you are going, how
you are travelling (bus, train, air, bike, walk, camel) and your schedule
make a big difference too. And obviously what you intend to shoot is very
important. All that said I would say that you should take as little as
possible. You may or may not be comfortable leaving anything in your hotel
room, and all that junk gets heavy. It also draws attention, and depending
on what you are shooting that can be a good or a bad thing. before making
specific gear reccomendations, I would be curious to hear your itinerary and
what you want to shoot!
As for customs and such--technically there are limitations on how much film
you can bring into the country but I have never heard of them being
enforced. My bags were not checked *at all* on entry or exit from Bombay.
I was carrying about 180 rolls of 120/200 film plus some 35mm. X-rays were
not an issue except in Hong Kong where they insisted on runnning them through
the machine. I adamantly refused and they finally agreed to hand check.
They said that they had to check each roll (opening each film box and
re-sealing each with tape!) but they got tired of that after about 40 rolls
and waved me through.
I should add that I was not travelling within india by plane (Indian
Airlines, etc) and that on past trips when I did do so, I encountered
problems with very strict but illogical "security" procedures. At one point
in 1994 I was taking a very short flight in Western India and security was
confiscating (not to be returned) ALL batteries of ANY type. They were
taking very expensive camcorder rechargables from very unhappy tourists,
watch batteries, etc. It was only on this particluar flight, so I guess the
moral is to be prepared for the unexpected. The domestic Indian carriers
are notorious for dumping people off of flights and cancellations. On one
of my longer trips some friends came from the USA to vist me in India, we
said our goodbyes and they boarded their flight to Bombay (having purchased
the ticket a month before and having reconfirmed multiple times) to catch
their international connection the next day. It turns out that some VIP
showed up with his entorage and basically bought out half the seats on the
plane. My friends were kicked off the plane along with half of the other
unhappy passengers! Insured that it was impossible to get a flight for days,
they basically lost those tickets, had to buy train tickets to bombay, missed
their flight home and had to buy new international tickets, and fly at a
later date. It ended up costing some crazy cash. I might note at this point
that Baksheesh is one often effective way of solving some problems in India,
but in this case offers of incredible amounts of money proved useless.
The first thing I would recommend is to go to your local US Customs office
with all of the equipment you plan to take, and get a "Certificate of
Registration for personal effects taken abroad". This is a free US Customs
registration form that will list all of the items and their serial numbers.
This will help with your insurance concerns in the event of a loss. It will
prove to US Customs on your return that you didn't buy the stuff overseas
and owe a duty on it, and if you encounter problems in foreign lands, it can
help to convince them that you are not smuggling equipment in to sell, etc.
India is a very bureaucratic country and having an "offical" document with
neat little stamps on it can be a great tool for opening otherwise closed
doors.
As for theft, the likelyhood of being with threat of force is *very* low,
particurlarly in India. If anything is stolen it will likely be in a sneaky
way (pickpockets, unattended or unwatched bags on trains, bags left in
hotels, etc). And unless you know how to haggle you will be robbed many
times by rickshaw drivers, merchants, etc!!!!! ;->
One last parting shot before I cease this incessant babble. I would *never*
trust my precious film to a lab in India or the post office!! And no matter
what the hassles, there are a million wonderful things about travelling in
Asia that more than make up for them!!!
-waco
rec.photo.equipment.misc
From: Wayne Barber [email protected]
[1] Re: which lenses to bring?
Date: Sat Jun 20 1998
I go to England twice a year (at least) on business, but always arrange for a day or two off to go shooting in London and surrounding areas. Learned long ago that all I need is a wide-angle and a medium telephoto, with probably 80% of shots being taken with the wide. In your case, with your lens list, would suggest the 20mm and the 105. I only carry the 28mm f2.8 and the 85mm f1.8 on such trips now, and have never felt the need for anything else.
Newsgroups: rec.photo.misc
From: [email protected] (Godfrey DiGiorgi)
Subject: Re: which lenses to bring?
Date: Fri, 19 Jun 1998
"pixi" [email protected] writes:
>Personally, I would take... >the 20mm, for wide panoramic >the 50mm 1.8 for low light close subjects >the 28-200 for distant shots & to crop misc junk out of frames (but not >very fast speeds)
I recently returned from a nice trip to the UK where I was attending a
classic race car/motorcycle meet. I decided I wanted more flexibility
than my usual pocketable travel camera kit. I carried my usual Minox EC
and Canon ELPH Jr. for the pocketable business, then packaged up my Nikon
SLR kit for the serious photography:
The whole Nikon kit, minus the monopod and flash, fits in a 9x7x4" Domke
bag with a couple of rolls of film, the monopod fits in a flashlight
holder on my belt, the flash goes in the bag with more film when I have
the camera and motor and one lens out for picture taking. It's convenient
and gives a tremendous range of flexibility for the size of the package
you're carrying.
The 20mm lens was a godsend in the very crowded paddock where I needed
coverage to get anything of the cars in, the 50mm was as always useful
everywhere, and the 70-300mm lens is brilliant for everything from
portraiture to track pictures at medium distance. I didn't end up using
the flash or monopod at all.
I only ended up using the Nikon gear for one day's shooting due to the
weather and carried the ELPH Jr. and Minox EC the rest of the time. The
ELPH Jr. pictures continue to surprise me with their quality and the size
of it is a delight. The Minox films are yet to be processed (haven't had
time yet) but I'm sure they'll be the usual fun stuff that I love to play
with.
A 24-28mm lens instead of the 20mm would give a slightly more normal
perspective without as much distortion but I've really come to love the
20mm for it's wide, wide angle of view.
Godfrey
rec.photo.misc
From: [email protected]
[1] Re: which lenses to bring?
Date: Sun Jun 21 1998
Hi Patricia,
I would bring the 28-200 mm as a practical all around lens. The 20 mm for
those beautiful insides of churches etc and perhaps the 105 f 2.8 because it
is such a nice lens. I do not always bring 2 camera bodies due to bulk when
touristing but always a film picker so I can change film in mid roll. A very
light tripod is also a good idea as you will find the light inside some of
these basilicas is very low. Also remember spare batteries as they can be
expensive in certain countries in Europe. Happy shooting.
John Iversen
Singapore
[email protected]
rec.photo.misc
From: Jeffrey Karp [email protected]
[1] Re: which lenses to bring?
Date: Sun Jun 21 1998
Bring the prime lenses, skip the zooms. Most museums do not allow the use of a flash or a tripod, so faster lenses are essential.Bring a tripod and cable release to use where they are permitted. I would bring both bodies, so that you have a backup camera if one breaks, and so that you can have two lenses mounted at the same time.
rec.photo.equipment.medium-format
From: [email protected] (RocknL)
[1] Re: 120 film protection
Date: Tue Jul 21 1998
After I unload and tape a roll of 120 I wrap it in a strip of aluminum
foil. This blocks any light and provides a small amount of protection from
heat. I do a lot of travel photography and may shoot 50 to 100 rolls of
film before I can get back to my lab to process it. I have had no frame
losses from light leakage using this method.
From: [email protected]
Newsgroups: rec.photo.misc
Subject: if you want your photo site to appear in my link page
Date: Thu, 23 Jul 1998
I am setting up a link page for photo sites related to travel.
If you want your photo site to appear on the link page of
http://www.photogallery.nu, or want to suggest a site to appear on that page,
send an e-mail to [email protected]
The link page will be part of the renewed photo gallery website, coming soon
(beginning of september)
The link page will be part of the renewed photo gallery website, coming soon
(beginning of september)
For other questions or remarks, mail to [email protected]
From: [email protected] (Joshua_Putnam)
Newsgroups: rec.photo.misc
Subject: Re: No tripods or flash allowed in India?
Date: 12 Oct 1998
>I'm planning a trip to India next February and recently checked the >photography regulations in India: > >"Special permission of the Archaeological Survey of India, New Delhi, is >required for use of tripod and artificial light." > >How strictly is this enforced? I'm taking a rotational panoramic camera >that requires a tripod, and would like to take flash pictures with other >cameras if necessary. How hard is it to get the "special permission"?
This varies tremendously depending on where you are taking
pictures -- there's no one rule that applies everywhere. Some
places have no restrictions at all, others have restrictions that
will be waived for a small tip, and some won't allow photography
even without a flash or tripod. (Mostly places with overpriced
coffee-table books for sale.)
In some cases the prohibition on flashes is necessary to avoid
damage to pigments in ancient paints.
>Also, the customs rules state that I can bring in only one camera and 5 >rolls of film. Has anyone had problems with this ruling?
I took in two cameras, three lenses, and twenty rolls of film the
last time I went. No trouble at all, though the customs
inspector did record the hardware on my entry stamp so they could
check that I still had it all when I left the country.
--
[email protected] is Joshua Putnam / P.O. Box 13220 / Burton, WA 98013
"My other bike is a car."
http://www.wolfenet.com/~josh/
rec.photo.technique.nature
From: "mike metelsky" [email protected]
[1] Re: What Equipment for Costa Rica?
Date: Mon Nov 02 1998
I went to Costa Rica about three years ago and was very disapointed that I
didn't bring a long lens with me. Howler monkeys, birds, and lizards are
all pretty fast and tend to stay high in the canopy. There is so much to
see and it is all beautiful. Bring "lots" of film. I brought 12 rolls with
me and had to find more film while I was there. I shot both slides and
print film and was very happy with both. Fast film is a must for shooting
in the rain forest itself as it can be pretty shady there.
Good luck and have a great time!
From Nikon Digest:
Date: Tue, 3 Nov 1998
From: "Ake Vinberg" [email protected]
Subject: Packing for extensive travel
For my round the world journey over the next 10 months I have come up with
the following photo equipment list. Any input appreciated.
* Nikon N60 + strap + 3 extra sets of batteries + Arca-Swiss style QR plate (main camera body) * Nikon EM backup body + strap + 1 extra set of batteries + QR plate (also looks less expensive than the N60) * Ricoh GR1 point and shoot (28/2.8) + 3 extra batteries + QR plate (made my own plate for this camera) * Tokina 20-35/2.8D - general purpose wideangle * AF-Nikkor 35-105D - general purpose * AF-Nikkor 24/2.8D - for panoramics (not sure about this one, the Tokina is just as good except for distortion and flare) * AF-Nikkor 85/1.4D - for avaliable light and portraits - and because it takes great photos * Desiccant + plastic bags for humidity protection * 52mm filters - Nikon A2, polarizer, Nikon B2 (see below) * 77mm filters - Nikon A2, KR3 (more warming), polarizer, intensifier(Singh-Ray), Cokin 173 blue/yellow polarizer, Nikon B2 (for cooling indoor available light shots) * Hitech ND grad in Cokin P size: 0.6 (2-stop) soft and 0.9 (3-stop) hard. (These are hand-holdable in front of the lens, and fit in my 77mm filter wallet. They also won't break, which my $100 Tiffen glass filter did.) * 52-77 stepup ring * Gitzo 226 tripod with Linhof Profi I ballhead and QR (a compromise, but a larger tripod and a B-1 head is just too heavy) * Ultrapod II large pocket tripod * Level for hotshoe * Film - mostly E200, a few rolls of PMC negative just in case * Big lead bag for film and loaded camera bodies * QR wrench * Pocket gold/white reflector (12" dia.)
Stuff left at home: 300/4, 20/2.8D, 80-200/2.8D, 180/2.8D, SB-26, SB-23,
closeup lenses, PK-11, PK-13, PN-11, Toyo 4x5 field camera.
As you can see, I skipped long tele, and closeup capability. I could
optionally add the 300/4 and a TC-14B. Or I could buy a 70-300D or a
80-200/4-5.6D. I'm also considering picking up a 135/2DC D in Singapore, so
I'll probably bring my 72mm A2 and polarizer as well. And it sure would be
nice with a medium format rangefinder!
The F5 stays home, too heavy and too valuable. I bought an N60 instead, a
camera that I can afford to lose, and it has a built-in flash so I can leave
the SB-26 home as well without compromising too much for the kind of
photography I will be doing.
Regards,
Eke Vinberg
[Ed. note: note backups!...]
rec.photo.equipment.35mm
From: "Dave Cardinal" [email protected]
[1] Re: Photography in Africa???
Date: Fri Nov 06 1998
I just returned from a safari in Botswana. For pictures of mammals I used:
N70 w. Nikon 80-200/f2.8 (+TC as needed), Tokina 400/f5.6
& my old N2020 w. a 70-300 as a second camera/ backup.
Faster glass at the long end would have been great, but I didn't have the $$
or luggage capacity for it! I used both a beanbag & a C-clamp on the rail
of the truck, as well as a monopod when we were walking. I took a tabletop
Gitzo for use with scenics.
I shot some Velvia (scenics), and E100S, E100SW, and E200 (pushed from 0 to
3 stops, as needed). Given the altitude, next time I'd leave the E100S
behind and only shoot the SW version. All in all, I'm quite pleased with
the results.
Since there were several people on the truck, I tried to use fast enough
lens/film combos to get fast shutter speeds. As a result I got plenty of
crisp shots, although not always as close as I could of gotten by using a
longer & slower lens configuration.
For bird pictures (Okavango Delta, mostly) I used the above, but also tried
the Tokina + my TC16A. Worked okay.
rec.photo.equipment.35mm
Date: Fri Nov 06 1998
From: Robert Wright [email protected]
[1] Re: Photography in Africa???
I also just returned from Botswana, and put all my thoughts, as well as some
photographs on one page of my web site.
You will find it at http://www.wright.dircon.co.uk/
There are a number of photo related pages with my commentary and
pictures.
rec.photo.equipment.35mm
From: Mike [email protected]
[1] Re: travel photography in South America
Date: Thu Dec 03 1998
I carried all my film with me (also Fuji Sensia) when I traveled to Bolivia
so I can't help you with your questions about film availability and sending
it back home. I was in a very remote part of the mountains much of the
time, far from stores or post offices. However, I have a couple of points
if you plan to take any candid shots there.
The native people (mostly Aymara where I was in Bolivia) don't want their
picture taken, so don't lift your camera to shoot sellers in a marketplace
in La Paz or you'll create a fuss -- they run and hide or lift something in
front of them. I got a few candids with wide-angle or having another
subject that appeared to be what I was shooting (point at the food display
but get the sellers in, too). A friend tried to video a young girl herding
llama in the hills and didn't know about this and she started throwing
rocks at him. Sometimes they'll allow it if you pay them or have a copy
for them. We stopped on the road to Lake Titicaca and some people started
taking photos of the Andes. A man ran over to us and said we couldn't take
pictures across his land unless we gave him a copy. A Polaroid would be
very useful in cases like this (we didn't have one and there's no mail
service in remote areas of the Altiplano). My wife took a picture of him
discussing this with a friend, though. :-)
Have a great trip!
Mike
msimm at ucla dot edu
From: [email protected] (Rob Dupcak)
Newsgroups: rec.photo.technique.nature
Subject: Botswana safari & weight restrictions
Date: 1 Dec 1998
Hi,
I apologize in advance for the off topic post, but I haven't been
able to get a response from rec.travel.africa....
I'm heading to Botswana and Zimbabwe next August and have been
told about weight restrictions on luggage for the local flights
between camps. I'm getting a little concerned due to the weight
of my camera equipment (~ 7kg just bodies and lenses) and the
limit of 12kg. Once I add in film, camera bag, a few toiletry
items and clothes I might be over the limit!
Does anybody have any experience with this? Do they really hold
you to 12kg, or is 13kg fine? Can I "hide" some of the equipment
in a jacket I'm wearing while they weigh the bags?
It all seems a little backwards for me since a 60kg person carrying
a 13kg pack could be penalized whereas a 100kg person carrying a
11kg pack would not. Of course I'm a 100kg person who wants to
carry a 14kg pack :-)
If I have to ditch some equipment, what off this list should stay
at home?
Nikon N70
Nikon FG
300/4
80-200/2.8
24/2.8
2x TC
Beanbag
Monopod
Thanks for any help,
Rob
From: "Dan Howells" [email protected]
Newsgroups:
rec.photo.equipment.35mm,uk.rec.photo.adverts,uk.rec.photo.misc
Subject: Question for everyone!!! Travelling...
Date: Mon, 14 Dec 1998
Okay then... here's a question.
Next summer, I am going to be backpacking across the USA for 5 to 6 weeks,
and I am going to do a hell of a lot of photography. With me, I will take:
Canon EOS 50e
Canon EOS 1.8 II lens
Canon EOS 35-80mm lens
Canon EOS 80-300mm USM lens
A crappie but light tripod
Red, yellow, green, polarising, and UV filters
(film:)
Ten Ilford XP2s
Ten Fuji NPHs
What I want to know is, judging by this kit, what would you take??
Dan.
Date: Sun, 13 Dec 1998
To: [email protected]
Newsgroups: rec.photo.equipment.35mm
Subject: Re: Question for everyone!!! Travelling...
you don't specify your photography interests sufficiently;
personally, I wouldn't go on a nature trip without some form of closeup
or macro lens
you also don't have anything wider than 35mm - for many of us, 24mm is a
favored lens, esp for nature/closeups
I generally run 5+ rolls of film/day on travel trips (36 exp) including
travel days, up to 25 rolls/day (grand canyon - not the canyon so much as
the gnarled trees on the canyon rim); more film is hard to get in wilderness
neutral gradient filters are nice, as are colored ones, for sunsets etc.
a backup body is handy for the inevitable trip ruining failure; doesn't
have to be a big dollar one, even a 35mm point and shoot beats nothing ;-)
bad weather photo gear?
probably you might benefit from reviewing my travel photography page at:
http://www.smu.edu/~rmonagha/mf/travel.html
also http://www.smu.edu/~rmonagha/mf/bags.html camera bag alternatives
also http://www.smu.edu/~rmonagha/mf/backups.html on importance of
backups in photography
good luck bobm
From Medium Format Digest:
From: Steve Marshall [email protected]
Subject: Response to Camera(s) on a Costa Rica Tour
Date: 1999-01-09
When I went to Costa Rica it rained a lot. You might find it hard to
protect a lot of gear. Forget about shots of those colorful birds,
unless you have fast film, big glass, a tripod, and lots of time.
They are there, I heard 'em, but those guys like to hang out at the
very tops of those 300+' trees in those dark rainforests. I vote for
the Nikon.
From: "S. Gareth Ingram" [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: Advice needed for Kilimanjaro-trekking
Date: Wed, 16 Dec 1998
[email protected] wrote:
> Hi, > > I'm going to climb the Kilimanjaro next Februari. I am already preparing (or > at least thinking of) my equipment. It will be probably one 35mm camera with > a telelens I have to by and my 4x5 inch camera with black and white and color > film. I usually use TMX, TMZ and Fuji (NPS160). I am not used to make photo's > on high altitudes and tropical conditions, and have questions on as well the > equipment as the film material to use: > > - is the use of UV-filters advised, from what altitude? what are the effects > if not used? should they be combined with other filters (yellow-orange-...);
UV is a problem anytime you can get a sun tan. So at high altitudes,
where you have snow (which is very reflective in the UV) you need to be
carefull. Normally you don't want to combine filters due to poor flare
resistance - fortunately most filters cut off in the UV. Be carefull of
flare, at high altitudes the sun is kind of bright and highlights can be
extremet.
I find the big problem is exposure latitude, but if you use print film
you have already bought some space to breath. The brightness of snow and
the darkness of volcanic rock is beyond all film. You may even want to
bracket with MF ! Fortunately, Mount K has an awful lot to photograph
before you reach the snow line.
Remember that your camera is worth a few years of salary out there.
Don't put temptation in front of people if you can avoid it - it's like
leaving a Ferari with the keys in it.
> - with respect to fims, is there a difference between the various brands with > respect to resistance to high tempartures (black and white as well as color > films);
Professional films are worse because they are timed to give optimum
performance and high temperatures can age it. I have not heard that
colour film is more susceptible to temerature than B&W.
> - is, generally spoken, mechanical equipment better fitted for extreme cold? > any precautions I can take with respect of my shutters (Copal and Compur)?
Modern lubricants are very good. The days when you used to get them
replaced or removed are less common. You should find your mechanical
shutters to be just fine. You may want to have them cleaned - the big
problem is water & dirt contamination of the lubricant freezing in the
cold.
> I would appreciate any information of people with experience on > (professional) photography on high altitudes at the one side and tropical > conditions at the other side (we will have both!) and will be refunded with > my experiences afterwards...
The problem with altitude is usally cold, very cold. It is also very dry
and static build up can result in small discharges that leave marks on
film. I haven't had this problem myself up to 5,500m using a mechanical
wind 35mm camera but I have heard of this from others. Cold will also
make your film brittle - treat it more carefully. Extreme cold can
change the effective film speed, but I have never found this to be a
problem. Cold also means condensation - be careful about bringing film
out of a warm place (e.g. your tent) and opening it to load a camera.
Let the film reach ambient before use. Your focussing screen may fog up
too if you breath too near to it. Not sure how your bellows will behave.
Never had any problems with battery powered light meter. You can always
keep in warm inside your jacket. High places sometimes have high winds,
that doesn't help with long exposures.
High altitude will affect you more than the camera. People die every
year. If you have ANY signs of extreme altitude sickness such as a bad
persistent headache, wheezing and coughing, poor coordination,
irritability - go down and stay down. Avoid alchohol as it masks the
symptoms. You can die within 24 hours. It helps not to travel alone and
it helps to drink lots and lots of water.
By the way, I found carrying myself at 5,500m was somewhat of a
challenge. Taking photos with a 35mm camera was demanding - particulary
at those temperatures. Hauling a MF camera and setting up and using it
at 6000m will be quite the challenge (never mind finding somewhere to
pitch a tripod) !
Not much experience with tropical conditions. Things go mouldy pretty
fast so keep an eye on your film and bellows.
GI
rec.photo.technique.nature
From: [email protected] (Duane Jacobson)
[1] Re: Backpacking with photo equipment
Date: Tue Jan 19 1999
Stan Halpin ([email protected]) wrote:
: Many scenarios come to mind, but you don't give enough information. : 1. If you are back packing, and oh by the way taking pictures, then you : have way too much photo gear. Take one camera, one (zoom?) lens, and : enjoy the silence of the backcountry.
I remember a comment from Galen Rowell in Outdoor Photographer. He
claimed that ninety percent of his best work could have been shot
with a 24mm lens and an 80-200mm zoom.
Duane Jacobson
From Nikon Digest:
Date: Mon, 04 Jan 1999
From: "Colin Povey" [email protected]
Subject: Nikkor lenses [v04.n188/5]
Quote:
Date: Sat, 2 Jan 1999
From: "Del Toyd" [email protected]
Subject: Lens selection for hiking [v04.n184/8]
I recently came back from spending a month doing some volunteer work in
Bhutan. On weekends we would make some local treks into the surrounding
hills and shoot pictures. The equipment I took were Nikkor 2.8D zooms
(20-35, 35-70, & 80-200) and an N90s body with SB-26 flash. My associate
took an Elan II and 2 of Canon's "consumer grade" lenses (28-80 3.5-5.6
and 75-300 4-5.6). We both used Fuji Velvia and shot mostly the same
material under similar light.
When we returned and started to assemble our slides for a showing to
colleagues, I was amazed to see that in most instances when we shot
the same subject at the same time, I couldn't detect any discernible
difference with respect to sharpness or contrast when the slide was
projected. Furthermore, I couldn't detect much difference when the
slides were compared under loupe magnification. The bottom line is
that we got similar results but I inherited an additional sore
shoulder and back lugging around all my heavy zooms which
significantly compromised the enjoyment factor for me.
My question is to anyone who has done extensive trekking/backpacking
where weight is a premium but quality is important as well. What
combination of Nikon's AF primes and/or "consumer grade" zoom lenses
would you recommend that would cover the range from around 24 to
200-300mm in focal length?
Del,
When used at medium apatures, essentially all modern lenses produce
good results.
Where your lenses shine is when used wide open, in low-light
situations or when limiting depth of field.
Nikon makes several excellent low-weight zoom lenses. The following
are are generally well regarded lenses:
24-50mm f/3.3-4.5D AF* Zoom-Nikkor ***
24-120mm f/3.5-5.6D AF* Zoom-Nikkor
28-85mm f/3.5-4.5 AF* Zoom-Nikkor
35-200mm f/3.5-4.5 Zoom-Nikkor AIS (manual focus) ***
70-300mm F/4-5.6D ED AF Zoom-Nikkor
80-200mm f/4.5-5.6D AF* Zoom-Nikkor
On the other hand, personally I would avoid the following:
35-80mm f/4-5.6D AF* Zoom-Nikkor
28-80mm f/3.5-5.6D AF* Zoom-Nikkor
The lenses with the *** after them are generally regarded as excellent
lenses.
A good two lens light-weight traveling system might be the 24-50mm and
the 70-300. This covers quite a range with only two real limitations:
1. Low light work
2. True close-up capability (both go 'reasonably' close)
Total weight: 31.2 ounces, or less than 2 pounds!
Be sure to check out the Nikon section at:
http://www.photo.net/photo/nikon/nikon-reviews.html
Hope this helps.
Colin
From Nikon Digest:
Date: Mon, 4 Jan 1999
From: [email protected] (Chris Somers)
Subject: re: Lens selection for hiking [v04.n188/6]
> Date: Sat, 2 Jan 1999 > From: "Del Toyd" [email protected] > Subject: Lens selection for hiking [v04.n184/8] > > I recently came back from spending a month doing some volunteer work in > Bhutan. On weekends we would make some local treks into the surrounding > hills and shoot pictures. The equipment I took were Nikkor 2.8D zooms > (20-35, 35-70, & 80-200) and an N90s body with SB-26 flash. My associate > took an Elan II and 2 of Canon's "consumer grade" lenses (28-80 3.5-5.6 and > 75-300 4-5.6). We both used Fuji Velvia and shot mostly the same material > under similar light.
Jim,
First off, I have to say "I don't believe it." I don't believe
that you and your associate could have gotten the same results
w/ the equipment you listed. This has nothing to do w/ C v. N,
but everything to do w/ shooting ISO 50 film, and what f2.8 lenses
will allow you to shoot v. the 3.5-5.6 variety. ... maybe shooting
from a tripod, and stopped-down, yes. But shooting wide-open I
would expect quality differences. I would also expect you to be
able to hand-hold in lower light, be able to blow-out the backgrounds
better on longer focal lengths, and have better distortion control.
BUT, seeing as this has nothing to do w/ your question, let me move on
:)
For backpacking, where weight is at the ultimate premium, I carry:
o FE2 (light batteries, easy to carry spares; mech. cable release)
o 24/2.8D
o 50/1.8E (oh-so-very light at 4.4 oz.)
o 135/2.8
o SB-25 flash
I don't worry about longer focal lengths, so I can't help you there.
My suggestion might be to add the TC14B to get a 190/4. Or, maybe
add the 180/2.8 and the TC14B to reach further still.
For *travel* photography, my setup is a little more extensive, but
again I don't carry longer focal lengths:
o N90/MB26
o 20/2.8D
o 24-120
o 35/1.4 AI
o 135/2.8
o SB25
The zoom is a great convenience. But for low light solutions,
the 35mm
is there (plus the 135/2.8 at the long end). The 20mm lens is
invaluable
for interiors.
All these lenses give great quality (I've made many Cibachrome
enlargements
from the slides). The only thing my eye is sensitive to is the
distortion
of the zoom; it just can't compete w/ the primes.
Regards,
Chris
- --
As with so much of what people leave behind, | Christopher Somers
it's difficult to say what was meant. | Rise Technology
We can only surmise | www.rise.com
that they loved, +---------------------------
that they were afraid. (Barry Lopez) | Gallery: www.flash.net/~jboy
From Nikon Digest:
Date: Wed, 17 Feb 1999
From: "Craig A. Whitney" [email protected]
Subject: Re: Need help for Travel to India [v04.n252/5]
I lived and traveled around India for about a year (four years back) with my
photography equipment. Upon arriving in Bombay, Indian custom officials
inspected my equipment and recorded numbers and type but did not record
serial numbers. They also checked how much film I had with me since India
has a restriction (at least then they did) on the number of rolls you can
bring in. Upon leaving by air from Madras, they did not bother to check
anything even though I had sold one of my cameras. They were so taken with
my two black labs that they just waved me through.
One note of caution; customs officials in smaller airports love to
confisficate flashlights, batteries of any kind, and small pocket knives
you may have on you. They may try to intimidate you to get some of these
things. I had one try to take the hat off my head when he took a fancy to
it. Also be very carefull about buying film and even more so on where you
have it developed. I had a number of chromes ruined by bad processing. My
advise is to buy Kodachrome and ship it to the nearest authorized facility
for processing.
India is indeed one of the most fantastic places I have ever visited and I
would go back in a heartbeat. Someone described it as a place with a
million portraits waiting to be taken and that is true. I treasure the
images I made there. Have a great trip.
Craig A. Whitney
Mayville, Wisconsin, USA
From Nikon Digest:
Date: Thu, 18 Feb 1999
From: [email protected]
Subject: Latin America travel - equipment report [v04.n254/4]
This is a followup of equipment notes after my three months of
backpacking in Latin America (mostly Chile).
Bodies
=====
F5: Two gripes - too heavy to carry, and too expensive. Note that I did
not say too heavy to shoot with, just a pain to lug around. I firmly
believe that the weight of the F5, especially with the Tokina 20-35/2.8 at
20mm, allows me to shoot adequately sharp pics at 1/10 sec. Too expensve
in a sense that I often was afraid to pull out the camera of my bag, out
of fear of getting robbed. It never happened, but I spent too much of my
time worrying about it.
But the rewards with the F5 came when shooting pelicans diving in the
sunset on the Costarican west coast, and when shooting James flamingos on
the Bolivian Altiplano lakes at 4,400 meters altitude. And in the ghost
town of Humberstone outside Iquique, when taking pictures of interiors
with bright sunlight
outside, in knowing that the exposure of the high-contrast scene will be
correct. And in knowing that the camera would take the beating that comes
with
traveling for three months, and keep on ticking for another 20 years.
Batteries were AA lithiums - the MN-30 would have been useless, NiMH
loses its
charge in a few weeks.
N60: See separate message "F5 vs N60". Obviously this was not the backup
body I
should have chosen. I have an old EM that would have been a better choice.
Lenses
====
35-105D: I never used it once. Not bright enough, not wide enough. So much
of a compromise that I would have missed shots. This has nothing to do
with optical of mechanical quality, just a personal preference and
shooting style.
Tokina 20-35/2.8D: Used it for perhaps 70% of my SLR shots. This range
is sooo useful when traveling. I mostly shot at f/8 or f/11 with ISO 100
film, sometimes with polarizer. Sometimes at f/2.8 indoors. This lens is
so well built. It has a slight problem with flare from sun, compared to
primes. The Nikon is supposedly better in that respect, but costs a lot
more. Sculptured hood is great. No vignetting with Nikon A2 filter, or
with Hoya thin Super MC circ polarizer. With both filters slight
vignetting wide open at 20mm, completely gone at f/11 or at 23mm. The
Hoya SMC pola is great, multicoated on the rear and uncoated on the front
makes it easy to clean and keeps reflections down. A Nikon large-format
lens cap for 77mm-size lenses snaps on the outside of the filter. This
lens comes with an excellent soft case that protects the lens and reversed
hood well.
85/1.4D: I'm in love with this lens. wide open or stopped down, it
creates beautiful images out of everyday subjects. The difference price
over an 85/1.8D is a bit large, but if you like the 1.8D then you will
love the 1.4D. I used this lens for perhaps 20% of my SLR shots. The
hood for the 85/1.4D is enormous, and difficult to pack. I left the hood
on when storing the lens - a little dust got on the front filter but no
fingerprints or marks. Hood took a little of a beating, but that is what
it is for.
180/2.8D: This lens saw little use, and every time I used it I wished I
had a 300/4 with 1.4x TC. With a 420mm lens I could have had fantastic
shots of the flamingos at Salar de Atacama, and i could have reached other
subject that were now too far away or too small. I found a good soft case
for the 180 - a North Face water flask case, thickly padded. I lost the
72mm cap and could not find a new one, but the case protected the front
filter well.
Filters
====
I used Nikon A2 all the time, sometimes with a good-quality clean
polarizer on top. I have no worries stacking two filters except for
reflections - these photos will not be blown up bigger than 8x10". The
warming filter just makes things look the way I see them, especially on
high altitude - on the Bolivian Altiplano at 4,200 to 5,000 m an A2 is not
nearly enough, but better than nothing; at that altitude daylight is very
blue even on sunny days. I also carried with me a Nikon B2, a nikon L37c,
a Singh-Ray intensifier, a cokin P173 (all 77mm), and Hitech ND grads
(rectangular). I used the ND grads a couple of times. Also A2 and
polarizer in 72mm (for the 180) and 52mm (for the 35-105D).
Tripod
====
My Gitzo 226 was good, but did not see that much use. Still, I was glad I
brought it, for the few occasions when tripod was a must. Ballhead was
Linhof's smallest Profi I, with a Kirk QR mount for Arca-Swiss style
plates. The F5 had a matched RRS plate, the N60 had a generic Kirk plate.
Tripod legs covered with pipe-inslulation foam - recommended. All in all,
the tripod was too heavy to carry around.
Other stuff
=======
Hurricane rubber blower - used A LOT.
Microfiber cloth.
Level fitting flash shoe.
Ricoh GR1 P/S - excellent lens, looks cheap and unobtrusive. Add a small
Ultrapod pocket tripod, and you can take excellent indoor candid shots. This
might be all I will bring on my next travel.
GaraGear padded stuff bags, one big enough for the F5 with lens mounted.
Please email me privately with any questions - I will post Nikon-related
replies on this forum.
Best regards from Santiago,
Ake Vinberg
[email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Backpacking with photo equipment
From: [email protected] (Frank Loeffel)
Date: 21 Jan 1999
I backpack with a Mamiya 645 Pro and 3-4 lenses.
I use a very large internal frame pack that I load with the
regular backcountry stuff. Then I stuff my photo
gear in individual pouches into a tiny inexpensive
K-mart type day pack. Then I put the day pack
on top of all the other stuff into the large pack.
I strap my Gitzo 1228 vertically on the outside
of the large pack.
When I arrive at the destination, I unload the large
pack and go roaming/photographing with my camera
and lenses in the day pack.
This solution works for me and produces very little
weight overhead.
Opinions:
- Photo backpacks are no good for backcountry trips.
- You need your hands free while hiking.
- Mount the tripod to your pack such that it won't interfere,
that is vertically.
- Go light. In particular no tent but bivy sac, no cooking
unless it's cold, no unused photo gear, light and expensive
gear.
- On the other hand, insufficient food will spoil
any trip and you can't make good pictures on low energy.
--
Frank Loeffel :-)
[email protected]
From: Ken Wyatt [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Carrying Camera Bags on Northwest
Date: Thu, 21 Jan 1999
SAKI ROCKI wrote:
> I've traveled on Northwest more than 50 times on international and domestic > photo trips over the past 5 years. I've found them to be easier to deal with > than nearly all other airlines. I've never had problems with Northwest which I > can't say about LanChile or KLM. My tripod goes in my checked luggage. My > camera gear that I keep to a minimum goes in a Lowe-Pro AW backpack. This > easily fits in the overhead and under the seats of most jets. It also easily > goes in the sizing boxes at the check-in counter. I wouldn't worry too much > about Northwest. Just don't overdo it. Carrying on a large camera bag plus > film bag and wearing a bulky photo vest crammed full of stuff is just asking > for trouble! Try to stay within the guidelines and above all, try not to be > noticed to avoid problems. Be aware that some airlines may weigh your carry-on > bag so you may want to save some space in your photo vest to put heavy objects > like camera bodies to get past the weight restrictions. I've had KLM (a > Northwest trading partner) and LanChile weight carry on bags and LanChile > limits you to only 12 pounds (5 kilos officially) so it's pretty much > impossible to stay within the weight guidelines. However, I have never had > Northwest weight my carry-on, though it could happen. I hope this helps and > you have a good flight! > > John Gerlach at [email protected]
Hi John,
Ditto to B. Wasson's tale (posted earlier). You also need to watch the
size.
The acceptable size varies with the airline; and even varies within the
same airline. I fly United mostly. Their posted (on Web) size limit is
22 x 9 x 14 (LWH). They also state on placards that carry-on items are
limited to 45 inches (L + W + H). However, at the gate check-in
stations, the measured sizing template was 24 x 10 x 16. To United's
credit, I've never had a problem sneaking it through for domestic
flights. The 9 inch dimension (if enforced) would be a killer for my
large backpack, though.
Recently, however, I had occasion to fly on Air New Zealand and their
sizing templates (not to mention the 11 kg weight limit per carry-on!)
were considerably smaller than United's. Also, Ansett Airlines
(Australia's big carrier) simply took one look at the backpack and
simply refused to allow it as carry-on and it had to be checked through.
My Lowepro Trekker Pro AW was about 1-2 inches too big in all dimensions
for both Air NZ and Ansett; despite Lowepro's assurance in their
literature that it is approved for carry-on. I guess it all boils down
to the specific airline you use.
There is an interesting carry-on survey done by the folks at Kinesis:
http://www.KinesisGear.com/survey.html
Hope to see you at the NANPA Summit, Ken
--
Ken Wyatt
From: [email protected]
Newsgroups: rec.photo.misc
Subject: Travel Photography Forum
Date: Thu, 07 Jan 1999
Maybe some of you will be interested in checking out the relatively new Yahoo
Travel Photography Forum? This is quite a lively group discussing everything
related to travelling with a camera. We also have regular chats and a
members' gallery. You find this forum at
http://clubs.yahoo.com/clubs/travelphotographyforum
Yahoo forums are absolutely free, - you only have to undergo a somewhat
lengthy registration process, but then you have access to heaps of
interesting "clubs", nearly a hundred of which are related to photography.
Some others that might be interesting to you: "Wildlife Photography";
"Underwater Photography"; "Black and White Photography"; "Photo Life";
"Panoramic Photography" and of course the various Nikon / Canon / Minolta...-
user groups.
Laurenz
Date: Thu, 18 Mar 1999
From: Gil Yeager [email protected]
To: [email protected]
Subject: All of Natures Wonders
Hi
We are a Semi-professional photographic couple, leading small nature
wildlife photo tours to photogenic locations, for intense photography to
obtain prize winning results, with out the hassles.
Gil & Madlyn Yeager
rec.photo.technique.misc
From: "Brad The Dog" [email protected]
[1] Re: Travel: number of rolls limit?
Date: Sat May 08 1999
I have never had a problem carrying lots of film, they ziploc baggie is a
good idea. Most people know what 35mm film is but so very few actually know
what medium format is, and that can cause a problem, I suggest leaving them
in the original packing and wear a vest with lots of pockets and don't give
them up unless asked for . A few years back I had several rolls of 220 in
their foil packed into baggies The customs officer started taking them out
of the foil and unrolling them. The dumb shit who spoke english until the
time I said don't take the film out of the packages. This only made him grab
for the rest and try going 2 at a time. If I hadn't tried to start and
International incident by spitting in his face (this got me someone else who
spoke english quickly) I got off the hook when I explained that the man
was destroying film intentionally after i tried to explain to him not too,
confirmed by 3 other photographers in my group who were behind me in line,
I also aggreed to take pictures of this guy with his mistress for him.
(that might have been what did it for me)
The only other really safe way to get film to you in another country is have
it fed ex'd to your hotel. Mail it out a day or 3 before you leave and
have it waiting for you. Also the way I do much of my film buying these
days is get to know local photographers of the places you are going well in
advance or your trip. ICQ, E-Mail, News Groups are all very good ways of
doing this. Find out where they buy film locally, you can bet if pro's
buy there the quality is going to be good.
Other over seas film remarks. (depending on where you call over seas)
Dependable film can be purchased locally at normal non tourist rates in most
major cities in following countires. US, Mexico, Canada, Brazil,
Argentina, Peru, England, Spain, France (It seems rather expensive every
where in france by comparison), Italy, Germany (AGFA is really cheap film
here), Turkey, Saudi Arabia, Egypt, South Africa, Israel (carefull of
tourist prices they are worse than in france), Australia, New Zealand, and
finally cheap film every where in the camera capital of the world Japan.
The prices in the philipines aren't too bad especially when if you pay with
green backs.
The worst places to buy film are Greece, Jordan, Sweeden, Norway, China,
Korea, and Hawaii
From: [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Tips for shooting in Nepal landscape
Date: Sun, 03 Oct 1999
What type of advice are you looking for? The advice that Id give, to
a degree, depends upon whether youre going to Nepal specifically for
photography, or if youre going there for trekking and photography will
be an incidental activity.
In a few words, what I did was hire a porter to carry all my stuff
except for my photo equipment. One thing that I'd definitely recommend
is a good wide-angle lens. I bought a 24mm and I've found it to be a
lens to have in many situations. I wouldnt go for a zoom because
youll have time on you hands, light is sometimes at a premium, and
swapping primes on your camera will rarely take so long that the
mountain wont be there when your ready to shoot. On films, slides are
a good idea, especially if youre willing to shoot extra film by
bracketing both with and without a polarizer. I shot a mix of
Velvia, Kodachrome 64, and Kodachrome 200 for use in my Nikon; shot
some Gold 200 in an Olympus Stylus too. As is often case with the
Velvia, it produced some really spectacular results when everything
came together right, but was also a bit overbearing in other cases. I
didn't take a tripod with me, but in retrospect, there wasnt much
reason that I couldnt have. One nice item that I used too was a
strap/harness combo from Tamrac that secures the camera against your
stomach to that it doesnt dangle in front of you as you walk. The
harness keeps the camera comfortably in place in front of you body but
doesn't in anyway impede readiness.
If I had tons of money and time, Id love to trek there again an take a
bunch of expensive medium format gear, maybe the Mamiya 7.
Another thing is to make sure to take people pictures, not just
mountain pictures.
One thing to consider too is Lithium batteries for your camera. At
some point you will be very cold and alkaline batteries may drain
quickly or stop working completely. Safer still is to take a camera,
at least as a backup, that can work without a battery in a pinch.
I put a few of my Nepal photos on the web, although Im a bit
challenged when it comes to scanning skills. The link is:
http://www.angelfire.com/ct2/davison/Nepal.html
Kerry
Omega Loo [email protected] wrote:
> Any useful technique for shooting in the Nepal landscape, up to Base > camp ?
From Leica Mailing List:
Date: Thu, 7 Oct 1999
From: Godfrey DiGiorgi [email protected]
Subject: Re: [Leica] Travel Photography Made Easy
Anthony wrote:
> > I will be leaving shortly for about three weeks in > > Europe. Each year I try to take a little less > > equipment. This is what I have it down to this year. > > > > M6 > > 90f2,8 > > 50f2 > > Nikon F5 > > 28-70f2,8 > > 80-200f2,8 > > 105f2,8 macro > > Metz 32 flash > > and UV filters since I will be on a sailing ship for > > about a week. I am also taking circular polarizers > > for all of the lenses for haze and smog.
That's a lot of heavy equipment but not unheard of.
I usually travel as lightly as possible with respect to photo gear: I
hate carrying all the equipment and prefer to have it with me at all
times, which you cannot do when you carry so extensive a kit. Interacting
with people and seeing things are the important things to me ... I often
carry nothing but a Rollei 35S or a Minox subminiature.
That said, I have two travel kits when I'm planning to do a lot of
photography and want to carry a more flexible camera for high quality
results.
SLR kit: - -------- Nikon F3 body (fitted with type E screen) [optional MD-4 motor drive] 20/3.5, 50/1.8, 70-300/4-5.6 lenses [optionally an 85/2, 105/2.5 and/or 135/2.8 lens as well for more speed] Nikon SB-15 Speedlight flash unit Lens hoods, B&W filters, Sky 1a filter, DW-3 waist level finder, type R screen Spare batteries [optional table top tripod, full tripod, cable release] RF kit: - ------- Leica CL body Summicron-C 40/2 lens Heliar 15/4.5 lens [optional 90mm lens] Small auto flash unit lens hoods, B&W and Sky 1a filters Spare batteries
The RF kit weighs in at about 2lbs. The full SLR kit weighs in at between
6 and 12 lbs. I will carry one or the other of these kits normally, the
last trip I went on I needed both. I also always carry a Minox submini -
most usually an EC with flash unit and spare battery. Fits in a pocket,
weighs less then my wallet ... for when you really really don't want to
carry anything at all. :)
Godfrey
Date: Sat, 6 Nov 1999
From: [email protected]
To: [email protected]
Subject: Travel photography
here is my travel photo equipment
24mm/2.8 EOS+hood 50mm/1.4 USM+hood 135mm/2 USM+hood 300mm/4 IS USM+CP 28~105/3.5~4.5 USM+hood Extension tube 1.4X Canon teleconverter Two SLR batterry pack (BP5P using four AA rechagerble battery and recharger) 380EX remote release filters and adapter, light tripod (better than nothing) OR monopod or using string Flash and incident meter or at least gray card. cleaning kit water proof camera bag. small binocular Films
This is for medium size camera bag total weight(include bag) less than 20 lbs
Believe or not, I analyzed 31 Travel photograpic situation. ANd after tried
zillions of the combination, Finally I some how got this optimum size for me.
From Nikon Mailing List:
Date: Thu, 20 Jan 2000
From: [email protected]
Subject: [NIKON] OT: Africam
Not strictly Nikon related, but for those of you interested in photography
in Africa you might like to take a look at http://www.africam.com which
has live video images from various parks in South Africa. It's pretty
amazing stuff and can give you just a little taster of what it's like out
there.
Simon Pearson
[email protected]
Visit us at: http://www.britishcouncil.org/bond
Date: Mon, 24 Jan 2000
From: chris kelly [email protected]
Newsgroups:
rec.travel.africa,rec.photo.technique.nature,rec.photo.equipment.35mm
Subject: Re: What photo equipment to bring on a trip to Egypt
Niklas,
I have never been to the pyramids, BUT I have spent alot of time
in the desert. Sand is your enemy. It gets into everything. I would
consider bringing an extra brush or two, maybe even a good sized
paint brush, to get the sand out of your gear. Think seriously about
putting some cans of compressed air in your luggage. Very useful
for sand. Lastly, bring some ziploc freezer bags to keep your lenses
in INSIDE of your camera bag. Keep the sand out of the Ziploc's,
clean your lens and then put it away. I had to send in camera and
lens to repair shops because of sand more than once.
Good luck!
Chris
Niklas Nikitin wrote:
> Hi,
>
> I am taking a two-week trip to the Egypt later this year, and have some
> questions that I wonder if you can help me with. I am going to visit; Giza,
> Abu Simbel, Saqqara, Aswan and the Valley of the Kings & Queens
>
> I am thinking of bringing two (Nikon) cameras, and the following lenses;
> 24/2.8, 35/1.4, 55/2.8 Micro, 180/2.8 ED. Some other stuff I am plaing of
> bringing is a SB-28 flash some filters (UV & Pol) and a small Leica table
> tripod. The film I am planning of using is Kodachrome (25/64/200) and Tri-X.
> I am planning of carry the stuff in a daypack like the Tamrac 750/752 or
> LowePro Orion Trekker.
>
> * Is it possible to use tripod inside the temples/pyramids?
> If it cost something - how much?
> * Is it possible to use flash inside the temples/pyramids?
> If it cost something - how much?
> * Is a 180mm lens "long" enough, or should I bring a
> converter to the lens?
> * I have a "light" tripod, a Gitzo 201 with a Foba
> Mini-Superball ballhead - should I bring this tripod?
>
> I am planning of leaving my 105/2.5, 300/2.8 lenses, some converters (2x and
> 1.4x) and winders at home.
>
> Is there something that I should change or get or..?
>
> Cheers,
> Niklas Nikitin
Date: Mon, 24 Jan 2000
From: Philip Stripling [email protected]
Newsgroups:
rec.travel.africa,rec.photo.technique.nature,rec.photo.equipment.35mm
Subject: Re: What photo equipment to bring on a trip to Egypt
chris kelly [email protected] writes:
> I have never been to the pyramids, BUT I have spent alot of time > in the desert. Sand is your enemy. It gets into everything. I would
I will second this. In addition to the items suggested by Chris, I would
bring lens cleaning fluid and lens cleaning tissues and used them as
frequently as possible; at least daily. I would also use a skylight or UV
filter over my lenses as addtional protection against sand and dust
marring the coating of the lenses. Consider getting your gear
professionally cleaned when you return.
--
Phil Stripling | email to the replyto address is presumed
The Civilized Explorer | spam and read later. email to philip@
http://www.cieux.com/ | civex.com is read daily.
Date: Mon, 24 Jan 2000
From: [email protected] (ricm)
Newsgroups:
rec.travel.africa,rec.photo.technique.nature,rec.photo.equipment.35mm
Subject: Re: What photo equipment to bring on a trip to Egypt
Hi Niklas,
I visited Egypt last year.
Fast lenses will be great in the tombs as flash is not allowed. I'd pare
down your assemblage as much as possible and work out of a shoulder bag
vs.a back pack. As always, never put anything down and/or unattended - I'd
carry everything that you only positively need. Don't look like the
typical affluent tourist festooned with camera stuff - especially if your
doing this on your own.
> * Is it possible to use tripod inside the temples/pyramids? > If it cost something - how much?
Depends which ones and who is "in charge". Make sure to inquire about a
photography pass - most of them are for video but if you look
'professional' then they will make you buy one - don't look like a pro and
you'll be fine. BAKSHEEH is the name of the game. Also watch out for the
guys who will show you an 'unusual' vantage point or allow you forbiddden
access points. BAKSHEESH!!
> * Is it possible to use flash inside the temples/pyramids? > If it cost something - how much?
No - and watch out for the guy who asks for payment and lets you use flash
- he'll pocket the �s, walk away and then have his buddy come and bust you
for using it and he will know nothing about a 'flash'pass. More
BAKSHEESH!!
> * Is a 180mm lens "long" enough, or should I bring a > converter to the lens?
My longest lens that I use is equivalent to a 100mm but I use MF
exclusively. A 180 would seem to be long enough. But again, do you want to
lug around a bunch of stuff preventing you from working quickly? I'd bring
the 24, 105 (or 85/1.8/1.4), 180 and your two bodies - leaving one put
away for a back-up.
> * I have a "light" tripod, a Gitzo 201 with a Foba > Mini-Superball ballhead - should I bring this tripod?
You may need it for night photography in the temples. I've visited the
temples at night when the bulk of the tourists have left. It's a really
nice time to photograph - but again - WATCH OUT!! But at other times I'd
rather hand-hold with fast film and leave the tripod at the hotel or in
the car for when you really need it. You may want to hire a
driver/assistant for your day trips - or for the entire trip for that
matter. You will have an interpreter, an assistant to help carry stuff and
a car to work out of. Plus he will add alot of insights to your travels
and you'll gain access to many less visited locations.
> I am planning of leaving my 105/2.5, 300/2.8 lenses, some converters (2x and > 1.4x) and winders at home. > > Is there something that I should change or get or..?
I always carry my Polaroid SX70 and offer a quick photo to any of the
subjects that I photograph. They're hip to the polaroid thing so ask if
they want baksheesh or a polaroid after you photograph them. Some may
allow you to photograph them without payment - but unfortunately, 9 out of
10 they'll want something. It's the name of the game - very irritating.
But get used to it - it's a way of life. Some photogs have a problem with
this - a 'big moral dilemna'- you need to decide for yourself if this is
acceptable. But that's a whole 'nother thread.
Have a great trip!!
Rick Murai
Date: 24 Jan 2000
From: [email protected] (Magambo)
Newsgroups: rec.photo.equipment.35mm
Subject: Re: What photo equipment to bring on a trip to Egypt
I was in Egypt a bit ago - they love Americans there. In Cairo try to
meet a cab driver who speaks good English, and then ask them to take you
to non-touristy places. My cab driver took me to the City of the Dead, a
salt lake in the middle of the desert with people fishing with throw nets
(this place wasn't even on a map), a couple of mosques and even across the
Suez canal onto the... jeez, how do you spell it.. anyway,m it is
pronounced SIGH NIGH... whatever. We would go out all day and it woulds
cost me $20.00.
Remember there are local customes and stuff - I almost got killed when I
tried to shoot a picture of a passing funeral procession in Luxor.
I would bring some 400 and some 1000 or Fuji 800 with you - the tombs in
the Valley of the Kings are really really dim and there isn't a lot of
space to set up a tripod, and since you don't have an IS lens for your
Nikons... and they wouldn't let you use flash when I was there.
Bring a polarizing filter - to cut through desert glare and turn the sky a
nice blue.
It is hot there during the day and really cold at night - there is like a
40 degree temperature drop sometimes. I wore a pair of pants that zipped
into shorts all the time.
Egypt is wonderful. Everyone will want your money. Remember to bargain
otherwise the shop keepers will rip you off
Date: Mon, 24 Jan 2000
From: [email protected]
Newsgroups:
rec.travel.africa,rec.photo.technique.nature,rec.photo.equipment.35mm
Subject: Re: What photo equipment to bring on a trip to Egypt
As you might have inferred from many of the responses, you will be well
advised to limit the quantity of gear which you will be taking on a
trip such as this. Your motto should be "less to carry, less to worry."
I would recommend sticking to one or two zooms (e.g. 20-35mm, 28-
70mm). If these are not already in your possession, consider taking no
more than two or three primes (e.g. 24mm, 35mm, 90mm, 105mm). I would
not even consider taking a longer telephoto lens. A monopod will be
much less burdensome than a tripod.
Having offered this advice, I must recognize that you may be one of
those intrepid photographers who will shoulder any burden to get the
perfect picture. You may even be a professional. If so, more power to
you. If I were in your shoes, however, I would probably take a high
quality point & shoot and try to enjoy the experience rather than
photograph it.
....
Date: Mon, 24 Jan 2000
From: "Charles Pezeshki" [email protected]
Newsgroups:
rec.travel.africa,rec.photo.technique.nature,rec.photo.equipment.35mm
Subject: Re: What photo equipment to bring on a trip to Egypt
Hi Niklas,
I just got back from a trip to Egypt in November. I disagree with some of
the advice given here, so I'll note what my experience was.
1. I found Egypt relatively free from petty theft. Thieving camera stuff
was generally the last thing on the mind of the Egyptians. I wouldn't
recommend leaving stuff in a crowded bus terminal and returning to find
it, of course, but unlike Mexico, you don't have to worry about getting
ripped off.
2. The Egyptians have a social welfare system, called baksheesh. It's
not just Western Europeans, or Americans, that get hit up. The Egyptians
hit up their own as well. Expect to tip 50 piastres (15 cts. American) or
1 Egyptian pound (30 cts.) for various things. Egypt is a full-employment
society. When you think that you may have to pay an extra dollar for a
tour of a museum, it's not that big a deal. You paid hundreds of dollars
for your plane ticket. Why would you worry about a little extra spare
change on vacation? It is indeed the local custom.
3. You cannot use a flash inside the tombs, and you wouldn't want to.
Who would be able to enjoy anything with hundreds of flashes going off?
Do take a tripod, but plan on buying postcards for the inside of the
tombs. They're often lit with fluorescent lights, making for weird colors
with your film anyway. Same goes for the various mosques.
4. Do take a lightweight tripod. It's handy, and I used my all over the
place. I found some form of a spotmeter handy as well for figuring out
exposures in the shadows.
Egypt is a challenging place to travel. On the one hand, it seems that it
should be so easy. But the level of pollution, the constant requests for
baksheesh, and the hordes of tourists detract. It was interesting as
hell-- but I'm not sure I'd do it again.
Chuck
Date: 25 Jan 2000
From: "Anthea Scothern" [email protected]
Newsgroups:
rec.travel.africa,rec.photo.technique.nature,rec.photo.equipment.35mm
Subject: Re: What photo equipment to bring on a trip to Egypt
....
You are not allowed to use a flash inside the tombs in the
Valley of the Kings or at Abu Simbal - you have to rely on a tripod & long
exposures. My father was ejected from Abu Simbal when his auto flash
fired! I don't recall anything about tripods not being allowed. Some of
the tombs are artificially lit, so you might want to consider correction
filters as part of your kit. I would think that your 180mm lens would be
ok - most of the attractions that you have listed are very big & will
probably require more wideangle shots. The exception may be if you wish
to photograph from a boat on the Nile & take close-ups of the
people/animals on the shore - one of the most interesting aspects of my
trip to Egypt was just watching the locals.
Enjoy yourself!
Anth.
From: David Hay Jones [email protected]
Date: Tue, 25 Jan 2000
Newsgroups: rec.photo.technique.nature
Subject: Re: Pro vs. Amateur??
[email protected] (PBurian) skrivningar:
> >Me3too. The only protracted shooting expedition I've been on was a trip to > >Africa where I shot nearly 40 rolls of 36 exp.
I shoot 2000 to 2500 rolls per year, if that's of any use to anybody.
On a recent three-week trip to Kenya I shot 400 rolls. Before, that on
a two-month trip to the States I shot 35 rolls. I suppose it depends how
inspired/ moved you feel.
David
From: Bob Flood [email protected]
Date: Wed, 26 Jan 2000
Newsgroups: rec.photo.technique.nature
Subject: Re: Why do pros shoot 100 rolls per week????
PBurian wrote:
> And so on. By the time he is done, he will have captured the essence of the > city and its people. Its variety of atmosphere, culture, small details, > panoramics, artistic and documentary shots, night scenes, pollution scenes, > buildings flooded by rising water, artifacts in the museums,
I think you left out an important aspect of a successful trip such you
described - the preparation. How does a photpgrapher know where to
shoot, what to shoot, who to shoot when attempting to portray a place?
S/he has to learn about the place, and learn in considerable detail.
Otherwise the time required for the project becomes too large (including
learning the city on-the-job) to make the job feasible. Learning may be
the result of trips to the city in the past, reading, studying the work
of others, discussing with others who've been there and maybe even "done
that." Or more likely, most or all of those methods. It's not a small
task, and when coupled with prepping the equipment and film for the
trip, the preparation is a lot of work and vital to the success of the
project. There's a lot more that goes into "getting it right" than
moving around Venice shooting as you go.
==================
Bob Flood
[email protected]
From Rollei Mailing List:
Date: Wed, 09 Feb 2000
From: Dave Wyman [email protected]
Subject: [Rollei] OT Yosemite
"A. H. Ongun" [email protected] wrote:
> I would appreciate any tips on where/when to go for pictures. We are going to the Wawona Station area.
I haven't taken my Rolleis to Yosemite very often. I do conduct
photography workshops in Yosemite a few times a year, which may or may
not qualify me for the following advice:
1) Bring chains for your car, particularly if you are staying near
Wawona, since you'll have to climb to at least 6.000 feet (at the
turn-off to the Badger Pass ski area) to reach the Yosemite Valley
floor.
2) Wawona is about 30 miles from the Valley. The Pioneer Village at
Wawona contains on of California's 12 covered bridges, and I believe
it's
on its original site (the other buildings have been brought to the Village
from other locations). The bridge is tough to photograph - it doesn't
stand out in the shade, light is mottled when there's sunlight. Snow can
help. The Wawona Hotel might give you some nice images. Lower Chilnualna
Falls is nearby - if there's been rain and the falls (actually cascades)
are flowing,
you can come up with some nice images. But you have to go early, before
sunlight hits the cascades.
3) The Valley
- You can sleep in at Wawona, make your 30 mile drive to the Valley and
still get "early morning" pictures, because the sun doesn't come up
early at this time of year (and never on the south side of the Valley,
beneath Glacier Point).
- Bridalveil Fall - the only fall with water all year. The best location
(for me) is in the parking lot - you have to stand a bit in the roadway
of the parking lot to make the image, so watch out for cars (you've got
your wife to help you with that).
- Stoneman Meadow (across from the Curry Village ice rink). My favorite
morning location. The sun should be coming up over Half Dome about 8:30
a.m. You can shoot backlit oaks, get Half Dome in silhouette, photograph
dried ferns, and walk out to the Merced to photograph the glass-like
surface of the river that reflects Stoneman Bridge. Come to think of it,
this
is one of my favorite sunset locations, too, when Half Dome is often lit
with
warm light and the oaks are now silhouetted.
- El Capitan Meadow - walk out to the far side of the meadow, look for
aspens to silhouette in front of El Capitan.
- Yosemite Falls - ice could rim the falls (there's always at least a
trickle of water and now there's lots of snow) in the early morning.
Once the sun hits (earlier than at Stoneman Meadow) it will melt.
Hmmm.......better not sleep in one morning. :-) If you are athletic you
might try scrambling carefully up to the base of the falls, where there
is a black pool of water. This is something you can't ordinarily see, at
least not once water starts flowing in earnest over the falls. (Do this
at your own risk, btw, it can be slippery up there.)
- Foresta - outside the Valley, off of Highway 120. Get a park map,
the turn-off is marked with one of those yellow signs indicating a road
that joins from the left - but no sign, as far as I know, reads "Foresta."
This will take you down to Big Meadow and two old barns. You can enter
one of the barns (I expect the Park Service will block it off one day).
Take a look inside the center of the barn - you'll need a tripod to
capture the interior. The barns have been refurbished in the past few
years, they don't have the patina of age that made them a bit more
attractive when they were more dilapidated. Still, they make interesting
and unusual subjects.
This might get you started, both with traditional and unconventional
locations. Of course, you'll also want to poke around the Ansel Adams
Gallery for ideas, and you can find all sorts of Yosemite images on the
web and in the library or your local bookstore.
Good luck,
Dave
--
Image Quest Photography Tours
http://www.davewyman.com
Date: Mon, 21 Feb 2000
From: thmpr [email protected]
Newsgroups: rec.photo.marketplace
Subject: Compact Tripod Selection
I need a compact tripod absolutely no larger than
13-1/2" when folded but must still have a decent
usable height. I have located only two tripods
that fit these requirements. No local dealers for
either - have to purchase over the internet sight
unseen:
1) Slik 450G: 11-1/2" to 33-5/8" (kinda' short
max height but small and light - hard to find)
vs.
2) Vanguard Tourist-5: 13-1/2" to 50" (many
features, braced, bubble, 6 leg sections with
twist-to-lock a concern, tight fit to pack)
Anybody want to throw their 2 cents in? Good
experiences or bad experiences with either of
these tripods? Any other choices with internet
sites to visit?
Thanks,
Glenn
[email protected]
[Ed. note: Since a lot of us travel for nature photography and are
birders, here is some useful reference resource link info...]
Date: Thu, 24 Feb 2000
From: [email protected] (Edward Frank)
Newsgroups: rec.photo.technique.nature
Subject: Bird Resources
This is a list of Bird Photography links from my website. I am in the
process of adding more. Are there any surefire links that you think I
should have? The description are gererally from descriptions by the
sites author of its content. My comments are in italics on the
website, but not visible here.
Ed Frank
http://members.xoom.com/ed_frank
Bird Photography
Athur Morris (Birds as Art) Arthur Morris is a free-lance nature
photographer and writer specializing in birds. More than 9,000 of his
photographs have been published in American Birds, Audubon, Birding,
Birder's World, Bird Watcher's Digest, Florida Wildlife and Nature,
Living Bird, National Geographic, Natural History, Nature
Photographer, Outdoor Photographer, PHOTOgraphic, Ranger Rick,
Wildbird, and other magazines, as well as in hundreds of books and
calendars. http://www.birdsasart.com/ The site has an extensive Photo
FAQ section which provide tips on bird photography, camera equipment,
and practical advise for the photographer.
Birding on the Web
http://www-stat.wharton.upenn.edu/~siler/birding.html�
This site
includes links, faqs, references, (including Bird Families of the
World
The Sibley and Monroe Classification) Hotlists, Bird Chat, Daily Mail,
and lists hosted by the Wharton School at University of Pennsylvania.
The list of links includes hundreds of birding resources on the Web.�
Gregory J. and R. W. Scott This site primarily contains photographs.
Categories include Birds in Flight, Whitewater, Abstract, Children,
Church, Landscape, Candid. I also have a Java Applet I wrote which
draws tartans, and some Scott tartan samples. I have links to other
sites, and a technical section covering High Speed Flash of birds in
flight.
http://www.gregscott.com/
Don DesJardin "I have very little time for photography... I just make
sure that what time I have counts." All of my images are featured in
the World Bird Sampler- this section is titled Birding Hotspots Around
the World. "These links go directly to information on specific
birding hotspots around the world, local site guides, etc. Although
these links can't replace knowing a fellow birder in the location
you're going, they can certainly help!"
http://www.camacdonald.com/birding/DesJardin/index.htm
Doug McCubbins http://www.mcdoug.com/photos/photos.html Many thanks
for visiting my site. I am gradually trying to become comfortable
with a variety of approaches. Except for flight shots, I always use a
tripod. Most of the time I'd rather shoot in manual exposure with spot
metering, but I don't hesitate to use autoexposure when I'm confident
of the results. The site contains a dozen pictures, most are birds.
Birding hotspots around the world �This is a subsection of the website
by Don Desjarden listed above.
http://www.camacdonald.com/birding/birding.htm
Bucks Bird Club Welcome to the Home Page of the Buckinghamshire Bird
Club. This website has been compiled in order to both advertise the
presence of the Buckinghamshire Bird Club and to provide an additional
service to club members and birders in general. The website therefore
contains information on club activities, club services as well as
providing information on recent bird sightings. In addition,
information is provided to give birders access to the tools to allow
them to contribute their own bird sightings. Finally there is a
variety of reference information which includes information on birding
sites within the county, the bucks bird list and a selection of
photographs of birds, all taken within the county.
http://www.geocities.com/Yosemite/Forest/1809/
http://www.birder.com You love wild birds and birdwatching and we are
happy you found us! Birding is the most extensive section of this
site. You will find checklists which span the globe, birding Hot
Spots, and rare bird alert phone numbers. In the Backyard Birders
section you can also find information on seeds to attract birds,
building bird houses, and links to home pages of other bird watchers.
The Scientific section has links to ornithological societies, museum
collections and more. The Fun & Games section has bird quizzes and
"virtual birding". The Birder's Mall is a wonderful place to discover
new books, CD-ROMs and magazines for birders. We have links to many
of the major birding web sites on the internet. But dozens are added
each week. One section of the site is the Geographical Birding Guide
(U.S.A. and Canada). This is a clickable map of the United States and
Canada with links to most state and province birding information and
rare bird listings�
Where & when to photograph birds in Florida (Photo.net FAQ) This is a
photo.net Discussion forum.
http://db.photo.net/bboard/q-and-a-fetch-msg.tcl?msg_id=0000NJ
Don Baccus Nature photography, guides, essays, and resource
information by Don Baccus. The site has photos in several different
categories (not just birds) including landscapes.
http://donb.photo.net/
Gloria Hopkins� Thanks for taking the time to visit my website. This
site is dedicated to bird photography. My name is Gloria Hopkins and I
am diving head first into this very challenging activity. Here you'll
see some of my work, some links, advice and some personal information
on me.�http://www.birdphoto.net. Several excellent Galleries of bird
images, an informative guide to bird photography, and links to birding
resources on the net.
On Silent Wings:� Bird Photography by Peter S. Weber. In addition to
bird photos the site includes Weber's ABA life List, Book Reviews,
and Birding Links, and a new (and simple) bird photo quiz.�Birding
links are broken into 5 sections:�1) Illinois Birding; 2) Top World
Wide Web Birding Resources; 3) Photography Links; 4) Birding Optics;
5) Recommended Products.
http://www2.famvid.com/wings/
Karl Snyder (25 Jan 2000) I had a chance to shoot three birds from
Hawk Quest (bird rescue). Each bird with hand held, that's why I went
for the head shots. If you have a bird rescue group in your area,
contact them and see what their policy is toward photography.
http://www.mountain-mall.com/phototrips/birdwars.html�
Beyond Nature �A Website dedicated to nature photography by Alan Yeo.
There are three galleries of images and a tips page entitled:
Everything You Always Wanted To Know About Animal/Bird Photography If
Only You Asked.
http://www.geocities.com/Yosemite/Forest/2252/index.htm
Date: Sun, 12 Mar 2000
From: "Woody" [email protected]
Newsgroups:
rec.photo.technique.nature,alt.travel
Subject: Re: Backpacking/Photography Tips
I've just come back from a years backpacking taking an slr camera. Just
put it into a padded bag like a Lowepro Topload zoom 2 which is big enough
for the camera, lens, spare batteries, blower brush, polarizer and
skylight filters. Then stick that bag into you normal daypack. Don't
carry a seperate camera bag and certainly dont use one of those fanny
packs - they just beg to be stolen. Speaking of things being stolen, my
camera was stolen in Peru on a bus while it was in my daypack on a shelf
above my head. I consider it my fault because I let my bag out of my
sight. Most of the locals carried their gear in their laps, and I suggest
you do the same.
Insurance on the camera is a truly wonderful thing, but I was still
without a camera for 1 month (I was able to use my friends) until I could
buy a replacement.
Despite my small tale of woe, it is really important to only be cautious
and not paranoid! If you're paranoid you wont enjoy your trip. Just be a
liitle suspicious and aware of whats happening around you. Thieves
generally target people who aren't paying attention to whats happening
around them.
I always feel I'd rather take and slr than a point and shoot. You might
want to consider a graduated neutral density filter as well. China is a
terrific place and I really enjoyed it when I've been there. Enjoy the
experience and the great photos you will take.
Happy travels
Woody
Date: Fri, 24 Mar 2000
From: [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Nikon Lens for Bird Photography-How Long?
"Michael Boustead" [email protected] wrote:
I don't mean to sound flip but it depends on how far away the birds
are. I have a 300mm and a 400mm. I don't remember the last time I
took the 400mm out. First I had to take the big tripod which is
always a hassle. As I took more pictures, I learnd to go where birds
are close. One of the best places in Houston (where I live) turned
out to be the zoo. The duck pond always has 20 to 40 species that I
could almost photograph with a disposable camera. Great background
and the birds sit still. The Rice University campus always has birds
which are used to people and therfore are very approachable. John
Shaw's video on photographing wildlife shows a shoot in Florida right
beside a highway. He sold several pictures from that spot.
ISO 200 film today gives about the same quality as ISO 60 ten years
ago. Thats two f-stops. I think with a 300mm lens, 2X teleconverter
and a good solid tripod you can take a lot of great birds. Maybe not
every bird you see, but if you go for the easy ones you will do a lot
of great work.
Regards
Date: Tue, 14 Mar 2000
Newsgroups: rec.travel.asia
From: von Khumbu [email protected]
Subject: Re: Backpacking/Photography Tips
I travelled in Asia for 7 months with 2 SLR bodies, 3
lenses and a panoramic camera, all stuffed to a smallest
possible bag meant for just one camera. The bag did not
look like much and never got stolen. The film was in the
main packpack, a total of 210 rolls.
In many questionable places I just leave fancy camera bags
behind (I have been doing this professionally for 23 years)
and have the camera in a standard daypack or even in a
large coat of jacket pocket. When I have the camera out I
wrap the strap around my wrist and conceal the camera under
my arms or carry the daypack in front on one shoulder with
the waist stap fastend. This way it is difficult to steal
and I can get equipment in and out faster. This is much
more comfortable even in civiliced places, even there I do
not want to look like a photographer, it never makes
reportage work easier.
Even if you have a "fancy" camera try not to think of it as
such. It is just a tool and does not need special padded
cases that just beg to be stealed. Get or make a pouch for
the camera and flash to protect them when in the pack.
Do not worry too much about film/batteries, they are
available in most big cities in China.
The advice about holding the camera (left hand UNDER the
lens with palm up) is a good one. I just drives me mad to
see cameras held the wrong way in the moves by actors
playing pro photographers. With the right grip you can
squeeze longer exposures without a flash. I expose 1/15
with 200 mm lens quite easily, 1/4 with a 20 mm lens. takes
some practice, though.
If you can use the flash as a fill-in it usually looks much
better than just fireing away. There must be something
about it in the manual.
Petri
Date: Tue, 04 Apr 2000
From: "Michael E. Gordon" [email protected]
Newsgroups: rec.photo.equipment.35mm,rec.photo.technique.nature,rec.climbing
Subject: Re: High Altitude Photo Tips/Equipment?
Take a look at Tuan's mountain photog. info for some good stuff:
http://http.cs.berkeley.edu/~qtluong/photography/35mm/
> > 2) Besides an effective UV filter, any other filters I should > > consider to enhance the quality of my photos?
I often use a circular polarizer, but DO NOT if I want to preserve the
glare of ice or water. Often the polarizer makes the sky too artifically
blue, but the polarizer is most effective with some clouds, which it
enhances nicely.
> > 3) Any other tips for this type of environment (equipment, > > technique, etc)?
Overexpose pure snow scenes by 1 to 2 stops or the snow looks dull and
gray.
Michael
Date: Tue, 04 Apr 2000
From: Mike Lazzari [email protected]
Newsgroups: rec.photo.equipment.35mm,rec.photo.technique.nature,rec.climbing
Subject: Re: High Altitude Photo Tips/Equipment?
> >A few questions re: high altitude (20,000ft +)/climbing photography: > > 2) Besides an effective UV filter, any other filters I should > >consider to enhance the quality of my photos? > >3) Any other tips for this type of environment (equipment, technique, > etc)?
A polarizing filter will give near black sky at right angles to the sun
for very dramatic effect if you like that sort of thing and it brings
out the contrast in the clouds even more so than at sea level. A
skylight filter is also good to cut down on the stark contrast between
light and dark. For portraits a fill in flash is mandatory otherwise the
side of the face in shade will be black, especially with slide film. And
your subject may be many f stops darker than the background. There is a
huge range from light to dark so a neutral density filter might be
useful depending on your equipment, rather than changing film all the
time. This is one place that a light meter might be useful, I used a
Sekonic Studio Deluxe. I noticed that at very cold temps I couldn't
trust the camera for an accurate reading. I'm missing the original post
so don't know what camera you are taking but I would use one that won't
be dead without a battery. Even swapping for a warm battery that you've
been carrying can be a task. And be careful where you set your camera
down. The sun will cook it (and you) while in the shade it may be -20=B0C=
or lower. Simple is better. I used an OM1 and my friends had an old
Nikon F2?? and a Rollei 35 (which was a pain with gloves) We shared
assesories. Have fun.
mike
From: "Howard Young" [email protected]
Newsgroups: rec.photo.equipment.35mm,rec.photo.technique.nature,rec.climbing
Date: Tue, 04 Apr 2000
Subject: Re: High Altitude Photo Tips/Equipment?
I would get one of those half clear and half neutral density filters for
taking mountain landscapes. You put the neutral density half on the sky
and the clear half on the mountains to make the moutains appear brighter,
without overexposing the sky. I have never used one, but I heard thats
what Galen Rowell uses.
I usually use a polarizing filter for mountain photography too.
Howard
Date: Wed, 05 Apr 2000
From: [email protected]
Newsgroups: rec.photo.equipment.35mm
Subject: Re: High Altitude Photo Tips/Equipment?
"Roy" [email protected] wrote:
> A lot of good advice has already been posted so I won't repeat suggestions > for all of your questions. One is important to mention however. You say you > are going to take UV filters for your lens. Don't bother. At high altitudes > the color temperature is shifted quite significantly. You will need a > warming filter to balance the blue
Agreed on this, I use an 81C for snowy/high conditions and 81B
normally. I Ice climb so weight is a problem. I also like going out in
the more extreme conditions and have camped in the artic circle. I have
F90 and F5 and both have worked well to about -20, The problem is
batteries (warmth) I have a fibre pile cloak for my camera and I put
one of those small hand warmers in it. This works well.
But for the bad days and the heavy climbs I have the solution!! a
Nikonos V. Waterproof and mine has been out, totally exposed in a
blizzard at -40C for 2 days. I use the 35mm lens and at F16 the depth
of field covers from infinity to about 3m so I just preset it and push.
Mine seems to do a reasonable job of exposing snow (I adjusted the
meter internally for +1 stop). I dont cover it or anything. Just have a
lens cap. I throw it in the pouch on the top of the rucksack when not
using it (or leave it around my neck) As its designed for divers its
easy to use when wearing goggles and mits. Yes, its manual, and yes it
takes more brain power to adjust it (may be in short supplY) but I
manage to use it suffering from narcosis on dives and above 20k. mainly
as its so easy to preset, and that 35mm lens is sharp!
Dont worry about the tripod, you can build one from the snow when you
need it!!
S
Date: 23 Sep 1999
From: Guy Tal [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Backpacking with heavy lenses
I had the same dilemma. i used to carry a big LowePro packed with
everything. But I realized I rarely use most of it. My current
hiking/backpacking camera gear includes a small Nikon FG (if it's a short
hike, I may take the F4), a 24mm, 35-70/2.8, 80-200/2.8 and a x1.4
teleconverter. I sometimes leave the 80-200 in the car in favor of the
105/2.8 macro, depending on where I am and what I'm hoping to find. I also
take a monopod. I tried carrying my Bogen 3221, but quickly decided it
wasn't worth it, unless it's a really short hike.
I'm a notorious tripod-hater :)
Depending on where/when I hike, I may take an SB26 flash as well.
Guy
chris kelly [email protected] wrote:
: Hello fellow backpacker/photographers, : I need help! I love to backpack, but I just don't like carrying the : weight that I used to run up : and down mountains with. At the same time my wife and I have a : selection of lenses running : from cheap lightwieght nikor to tack sharp, heavy, pro glass. I am : talking about the 35-80 : f4-5.6 at 6.2oz vs the 35-70 f2.8 at 23.8 oz. Things get even uglier : when I start deciding : between the 70-210 f4-5.6 and the 80-200 f2.8. Not only do the heavier : lenses produce a : sharper picture, but they are twice as fast, for the deer and porcipine : that frequent the camp- : site. Additionally I hope to add a 300 f4 soon (cheap and : lightweight). Camera is the N90s, : again because of the weight. : This is my question. How do other people handle this? I usually go out : for no more than : three days, but the area is very hilly (NY catskills - having grown up : in Oregon and Alaska : I just can't say mountainuous). BTW, I carry the Bogen 3001 and a Gitzo : 1226? head. Both : lightweight (for day hikes it's the Bogen 3221). : I would very much like to hear peoples responses - examples of how you : pack and approach : this issue would be great, even if it is not the "magic answer". : Chris Kelly : PS. Please no Nikon vs Canon vs Lieca vs etc, I think they are both/all : very good, I just happen to : have Nikon.
Date: Fri, 24 Sep 1999
From: [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Backpacking with heavy lenses
I can not say I have a complete solution for You, but take a look at my
web site (http://welcome.to/gurans_photo) under DIMP and Carrying. You
will there be able to see how I have solved my day-hiking problem. As my
dayhikes involves carrying loads of around 25 kg (including both 35mm,
large format and heavy tripod) it can be used as a way of getting
inspiration for a solution that can solve Your problem.
There are two things that You have to be prepared to do:
1) Prioritize. The whole life is a matter of compromize and we always
have to decide what is the most important. If Your load is too heavy You
might be able to leave some lenses at home to loose weight without
loosing too much of the ability to take photos. You can also select Your
camping equipment in a very weight saving fasion. It might be a little
more expensive but that is also a compromize.
2) Once You have decided what You need to bring You have to find a
comfortable way of bringing it along. At this point there should be very
little compromize. If You have a really comfortable carrying system You
can bring a little more weight compared to if You just have a
comfortable carrying system. Here my web site could act as inspiration.
Good Luck
Guran
Date: Mon, 13 Sep 1999
From: Godfrey DiGiorgi [email protected]
Newsgroups: rec.photo.equipment.35mm
Subject: Re: photo equipment in desert
I and a good friend of mine spend many a happy hour banging about the
playas in Nevada, where the temperatures can get brutal. We're both
photographers so we are both concerned for the safety of the equipment.
The desert dust and grit gets everywhere, and the heat can roast
sensitive electronics and lenses.
We usually bring a big cooler for the equipment. We use a few of those
frozen gel blocks at the bottom of it to keep the temperature something
reasonable and keep the equipment in the cooler when we're not actually
using it. Everything is wiped down and kept in a bag or under a cover
anytime it's not actively in use. If you're not able to carry a cooler,
at least bring an insulated bag for the camera, film, batteries. Keep
things out of the sun whenever possible, clean the grit and dust off the
exteriors of the camera and lenses as much as possible.
Generally speaking, mechanical and electronic cameras both fare
reasonably well if you keep after them. I've had more electronic cameras
fail on me than mechanicals at the extremes.
Godfrey
[email protected] wrote:
> I'm going for a short trip into the desert of Morocco. Does anyone have > bad experience with equipment (sand !!!, heat !!!) ? > How to avoid problems ?
Date: Mon, 13 Sep 1999
TO add again to what was said:
dust off first/blow off stuff from lenses THEN clean. Don't want any
particles to grit across the front elements... A filter would be handy for
the same. If it encounters a lot of dust, a CLA at the end of the trip
would be worthwhile too, no?
/Acer "steppenwolf" Victoria
Date: 14 Sep 1999
In 61 years of using 35mm cameras, I've never had a CLA, which I believe
means clean, lubricate and adjust. Just lucky ? Nor despite the many
postings on the subject, never had problems with 'foam" or any kind of
fungus. In tropical or beach conditions, I keep cameras in baggies in an
ice chest when not in use.
Date: Tue, 14 Sep 1999
Not to split hairs, but it probably matters whether that was one
camera a year for 61 years or one camera for 61 years. (to look at the
extremes)
I would be surprized to find much polymerized foam in a 61 year old or
even a 40 year old camera. It was more common to use the sort of
black fiber brush that on finds at the aperture of 35mm film
cartridges or mechanical interlocks, a la the Nikon F back.
Fungus is not much of a hazzard for the occassional visit to tropical
conditions. It is a fact of life for those who live in elevated temps
and humidity without air conditioning for months to years.
If you have kept a 35mm camera purchased, say from the early 70s until
the present, without some deteriorating light blocking foam, I am
surprized. Most, in my experience, begin to de-polymerize in about 15
years, returning to either a crumbling powder or a sticky goo.
Neither the sort of stuff that goes well inside your camera.
Perhaps we live in very different climates and that explains it.
<
Date: Tue, 14 Sep 1999
I will add to what has been said so far. Buy yourself a good camel hair
brush for cleaning off dust, grit from your equipment. Before changing
lens
inspect mount for grit and for yourself, take & drink plenty of water. In
the desert dry air it is very easy to get dehydrated. Enjoy!
GQR
Date: Thu, 2 Sep 1999
Hi Mike,
Well, bird photography turns out to be a pretty specialized (and
expensive) niche in the world of nature photography, if you're to do it
very seriously. I'd advise purchasing "Bird Photography" by Arthur Morris.
The book goes into some depth as to required equipment and useful
techniques. My son would be delighted if you were to order it through his
Web site at www.wyattphoto.com/B-Wild.htm or you can order direct from
www.amazon.com .
The most important factor is to be able to get up close. It's surprising
(to me, at least) that even with a 500mm lens and 1.4x teleconverter
(700mm, equiv.), I still need to be within 20-30 feet for a frame-filling
shot of a -large- bird. Unless you plan to shoot in an area where the
birds are habituated to humans, you might want to explore the use of a
blind.
The smallest lens I would suggest would be a 300 (or better, a 400-500) f4
lens with an optional 1.4x teleconverter. Unfortunately this pushes us out
of your upper price limit. Possibly a 75-300 zoom would work under bright
lighting conditions. The speed of the lens is also dependent on your
choice of film speeds, of course. While I use a variety of
films; primarily Fuji
Velvia and Kodak E200, for most wildlife, I use the E200 (pushed to 400
sometimes).
You also ought to use a tripod or other form of camera support, but Artie
goes into this in much more detail in his book.
Hope this helps get you started. Welcome back to the wonderful world of
photography!
Ken
Date: Sun, 13 Jun 1999
I shoot film, primarily at altitude. I live in Idaho. If you want your
pictures to turn out correctly, you will have to apply an appropriate
color balancing filter or your pix will turn out with a bluish cast due to
reciprocity failure of the magenta layer of the film. 8000' is high, and
you need an 81B filter or Kodak equivalent (KR3, if I remember correctly).
I shoot Fuji Velvia, and often use a polarizer and an 81B together, which
I correct with +2 stops. I always correct a polarizer with 1.5 stops, and
the 81B with 1/3 - 1/2 stops.
You can take pix at that altitude without a filter. They will just come
out blue. So many folks are just used to having their mountain pix turn
out blue that they don't know any different. Once I found out about color
balancing, though, it really changed my perspective on mountain
photography.
The colors are much more lifelike.
Tape the 81B filter flat to the face of your taking lens-- never take it
off at that altitude. Then screw in the polarizer to the 81B. Have fun!
Chuck Pezeshki
[email protected] (Zxcvbob) wrote:
[Ed. note: warning re: need for
insurance...]
Joseph Albert [email protected] wrote:
I've checked a few of them, and every one has an exclusion
for photographic equipment and other valuable items.
--
Date: 10 Apr 2000
Yes, and a polarizer.
UV filters are basically useless at high elevations. Polarizers cut more
UV and also reduce glare and haze.
Peter Burian
Date: Wed, 11 Aug 1999
Mengshi's given sound advice... I live in Singapore, which neighbours
Malaysia, and there are all kinds of photo equipment around here.
Personally, I have used everything from FM2s to F90xs to F5s, and medium
format cameras, and so far I don't think I've noticed any higher than
normal breakdown percentage, and none that are attributable to the heat
and humidity.
Do note that as Mengshi pointed out, lenses do have a tendancy to grow
fungus if not kept away from moisture. This of course, is not a worry for
short periods of time (lest we wouldn't be able to shoot!) but be warned
if you are going to leave lenses lying around for months on end. Our
humidity levels regularly hit the 90% mark... which is why almost all the
serious photographers here have to invest in dehumidifying cabinets.
Date: Tue, 11 Apr 2000
Don't do it!!! I've got an N90, and Olympus XA and a Nikon FM. When I go
to desperate places I always take the XA or the FM depending on space and
weight. The N90 (and I think the 60 & 70) has lots of small buttons that
are impossible to work with mittens or even gloves on, the AF can seize up
at weird times and they suck batteries.
Go light and simple. Learn to adjust the meter based on what your eye and
experience tells you and go for it.
BTW, the N90, 70 and 60 are great cameras but they're not designed for
high-altitude mountaineering and inclement weather situations.
Cheers!
Darrin Sharp [email protected] wrote
From: [email protected] (PBurian)
Nick Nichols (National Geographic photographer, tigers, apes, etc.)
routinely spends months in hot climates with film.
He keeps it in the shade.
If you can wrap a wet/white towel around your bag of film (and wet it down
occasionally) that would work very well too.
I spent 10 days in Brazil and my film was fine.
Amateur film with a long expiry date (like May 2001) might be an idea too.
However, humidity can still be a problem.
Kodak tells me that Kodachrome tolerates heat better than Ektachrome but
is more susceptible to high humidity. Also, I don't like the dull
Kodachrome colors.
Peter Burian
From: Liz Leyden [email protected]
[email protected]
(PBurian) wrote:
There is a middle way!
You can stay at fixed tented camps, like Larsen's in Samburu (but be
careful, some of the tented camps are very big, which may not be what you
want). Most of the vehicles have coolboxes, if not fridges.
However, in some ways, this could be better, as the luxury mobile camps
usually have six to eight people on the trip, so that is the number in the
vehicle. I much prefer only two in the vehicle, otherwise you have either
to be very aggressive and loathed by the others in your party or you have
to compromise, be polite, and miss good shots. I don't care what anyone
says, four people cannot do serious photography from one minibus. Even
worse it it is a landcruiser. A guaranteed window-seat is fine and good,
but seven people (who can all be "guaranteed window-seats" in a minibus)
will not all get good shots of the action).
If I had to make a choice, I would save money by staying in the bigger
lodges and spend it on having only two people (plus driver) in a vehicle.
In fact, that's what we'll be doing this year - it means we can have three
weeks instead of two.
I actually don't keep my film in the coolboxes - my padded camera bag
seems to be fine, and so far I haven't seen any evidence of damage to the
film through overheating. I'd have far more damage if I didn't get my
cool water.
Liz
Date: Sun, 16 Apr 2000
Stephen Hill [email protected] wrote:
Steve:
I've traveled with a full rig (Hasselblad 553ELX,
four lenses, eye-level prism, and several backs)
for years. It's backbreaking work, and if I had
to do it over again, I would opt for a non-
motorized body (probably the 503CW), stick with
the folding waist-level prism, and maybe leave a
lens at home. But the picture quality makes the
struggle well worth it, and the luxury of being
able to swap film magazines in mid-roll is great.
I keep one mag loaded with transparency film, one
loaded with fast b/w, and a third filled with
Kodak Tech Pan (processed for continuous tone).
For me, the magazines and lenses are necessities;
the motor and eye-level prism less so.
Eric Baumgartner
Date: Sun, 16 Apr 2000
....
Hear, hear!
I can't but agree. Myself I travel with a 503 CX (but no flash). 150mm,
prism and a SWC (not so much bigger than a Distagon, but image quality is
better). Sometimes I also bring a 250mm. Then four magazines 2X 4,5x6 and
2x6X6. The rest of the packing are some filters. After comes the caravan
loaded with film..... ;-).........no, I have to carry it myself but that
is the heavy part of the load. Think I - and the rest of us - have lost
more pictures lacking film than missing some equipment. Right?
Ulf Sj�gren
Date: 16 Apr 2000
Hi Steve !
I've been traveling with hassie in the past 4 years,I use 503CW without
any additional prizm findres..I also carry a light gitzo tripod with med.
Kaiser ball head..For short trips I usually take with me one
body,50/4,100/3.5 and 2XE extender..for a long trip I add 180/4 and 501C
as a backup body...As for myself I found hassie very useful for any photo
opportunity..Till recently I also owned the Leica R system with one of
theirbest APO lenses but I sold it for a very simple and convincing
fact:The size of image ( 2 1/4 vs.35mm) clearly speaks for medium
format,although I must admit that Leica's best lenses in terms of image
quality and craftsmanship are the best I've ever seen...
Sincerely,Jan
From Rollei Mailing List;
I carried a Leica and a Fuji GS645S rangefinder around the world. The 645
negs can yield great 16X20 and larger prints. The 35mm has all the
advantages of spontaneity. It depends on what your goal is. I like both.
In retrospect, all my 645 shots could have been done with a Rollie.
Bill Lawlor
From Rollei Mailing List;
I have purchased a year or two ago a Fuji GA645wi. The wide angle version
of their automatic everything camera. It works great, the lens is tack
sharp, the negs are right on, except there is a slight tendency to
overexpose outdoors (maybe too much sky??!!?). It looks and works like a
35mm camera (probably lighter than a nikon with a motor drive). It is a
good camera for travel when you cannot or will not bring your Rollei. Cost
is about 1200 or so.
Andrei D. Calciu
rec.photo.technique.nature
Yes have your flash on a remote cord on another tripod. And have
it angled not 90 degrees. I used a flash meter and figure it out
you usually lost 1 stop shooting through glass and water. Good
luck. I have shot fish in aqauriams with good results. Its the
way to go as you get much better results than without flash.
rec.photo.technique.nature
glen wrote:
If you aren't going to use a flash, you need to get your lens right up to
the glass to eliminate reflections from your side of the glass. I have a
large flexible rubber lens shade that I use in such cases. I can lean it
against the glass and eliminate all reflections while its flexibility lets
me aim in differing directions.
rec.photo.technique.nature
Also, place your camera's lens as close to the glass as possible (maybe
even touching) and wrap a towl or shirt or something around it to block
any extraneous light from getting between the lens and the glass on the
camera-side of the window. This will help avoid relections on the glass
in front of your lens.
Brad Mitchell
...
From: JW [email protected]
Just returning from 3 weeks photographing in China, here are some
obversations which might help the mf photographer.
First, everything is XRayed - the film is going in the soup this morning
so we will see if there is any damage - mostly 220 Provia, Astia and 120
Ektachrome VS, some TMY and NPS.
The Rollei 6008 was a source of extreme fascination by the Chinese who
seem to be as avid photographically as the Japanese. It was as if they
had never seen a Rollei or Blad. If you take care setting up a group of
photographers will gather behind you to see what's doing and will
politely ask to peer into the viewfinder.
An MF camera can be a headache, however, as it is deemed a
"professional" camera by the authorities in some areas. Not wanting to
experience the amenities of a Chinese jail, I had to put the Rollei and
Gitzo away at the insistence of two security guards at Dazu - site of
magnificent 12c wall carvings.
There is not much problem photographing in museums. Signs are displayed
in those locations where photography is prohibited. Unfortunately the
museum shops do not yet sell chromes of their treasures like the museums
in the US and Europe. If it can be sold, however, expect the Chinese to
do it!
The development in China has been nothing short of spectacular but you
will be hard pressed to find little remaining of the old China. Our
group contained individuals who had made many trips over the past 20
years and one of the members who had been there only a few years ago
were stunned at the development in the past five years.
I would have to say that the trip to China is something that I will
repeat
BTW don't drink the water, don't eat the local lettuce, and drink a lot
of beer or Sprite to prevent dehydration. The bacterial count in the
Yangtse is second only to the Ganges. I would also suggest that the
autumn might be a better time than the spring if you want to see the
Three Gorges.
From: Edward Craft [email protected]
JW,
Your film should be okay, at least based on my experience in China last
June. Yes, everything was x-rayed, sometimes at several stations at the
same airport for the same flight! But mine was undamaged. I did have one
roll of Tri-X that had spots on several frames most likely caused (we now
believe) by extreme - and I mean extreme - humidity. Otherwise all was
fine.
Your post was very informative for anyone planning to photograph in China.
If you don't mind, I would like to add one item from my trip. Like you, I
found being in China a special experience. Photographing there was a great
pleasure. I didn't encounter a single person in either cities or villages
who objected to being photographed. In fact, many times a candid that I
wanted turned into a posed shot simply because people were so friendly
about having their picture taken. Amazing. Add to this the fact that I was
there only a few weeks after the Chinese embassy in Yugoslavia was bombed.
It's an incredible country; they are an incredible people.
Regards,
....
From: zeolite1 [email protected]
By "serious" in no way did I mean superiority. If that is how you
interpret it, I apologize. This is what I meant: A normal safari tour
is meant to be relaxing. You get up at 7AM, have a leisurely breakfast,
and by 9AM, take a 2 hour game drive. You come back, sit by the pool,
read a novel, then go out at 2PM for a game drive for two hours. You
then enjoy a leisurely dinner and watch the sunset from your lodge. In
this normal tour, you miss the finest light: dawn and dusk. My tours
were led by the same full time professional wildlife photographer
(Lenny Rue). The cost was very high, since I was traveling from
California, and was difficult for me and all the others to afford. So
we needed to maximize our shooting hours. We always had breakfast in
total darkness. By the first hint of light, we were in position to
shoot. Often, we packed a lunch, to not waste the time returning to the
lodge. We never returned before total darkness. We ate dinner in total
darkness. This is not relaxing; but it is what I mean by "serious".
From: "Rick Rieger" [email protected]
I've travelled with a moderate Nikon SLR system (1 body + 24-50 + 70-300)
and a Fuji GW690II. A tripod goes along, too. It's not too bad to carry
all that. The Fuji certainly has its limitations, but when the shot fits,
it's great! The Nikon does most of the work on the trip, but when the
occasional great landscape or other noteworthy scene comes along, the Fuji
comes out.
Sometimes I travel with just the Fuji. It's liberating, really, not
having to worry about which lens, teleconverter, graduated ND filter,
close-up lens, etc., etc. to use. I look for the pictures the Fuji can do
and forget about the rest. I have rarely been disappointed when I come
home.
Rick R.
From: [email protected] (Karl Snyder)
in rec.photo.technique.nature you
arranged some electrons so they looked like this:
John,
Forget any concept of Sky A1 or UV filter blocking the excessive UV
light at high altitude. The Sky A2 blocks vertically all light below
410 nanometers where the A1 and UV only block 24% of the UV at 410
nanometers. Also consider a 81B or 81C to add a little warmth to kill
the excessive blues at altitudes. I use an 81B consistently when
above 8,000 feet unless shooting at daybreak or sunset. The atmosphere
at dawn or sunset will filter the blues for you.
Karl Snyder
From: "ULF SJ�GREN" [email protected]
If you don't go away to shoot close-up portraits I have a suggestion that
maybe sounds a bit strange but works good. I have travelled many times
with a Hasselblad SWC camera as only photo outfit. And to that 2 mag's 4,5
x 6 (as I shoot b/w and diaslides). It is a small camera and sharper lens
hardly exists, at least not on a camera that is possible to carry.....
I've noticed that tele shots are not so many -at least not for me - when
travelling. Of course a tripod is always best but the SWC is easily
handheld down to 1/30 sec. and it focuses down to 8" from the frontlens
with incredible sharpness - but you have to bring a measuring tape for
that kind of photography...;~).
Have a nice trip!
Ulf Sj�gren
....
Date: 24 Jun 2000
For some European destinations, Dorling & Kindersley publishes Guides jam
packed with photos. I found this useful on my trip to the Loire Valley,
for example.
Peter Burian
[Ed. note: Adrian shares some good tips below!...]
Hi Laurence,
I have lived and worked in China for most of the last 16 years. Airport
X-rays are pretty safe here now and hand inspection is usually possible if
you are politely insistent. Wandering about is no problem but China is a
big place: where would you be wandering? Presumably not the Himalayas or
the Taklamakan Desert [vbg]?? If you are going on a package tour the
problem may be lack of time left over for your own activities. Also unless
you are in a well located hotel you may well need to take a cab to get to
the more interesting places (and need to speak a little Chinese or at
least have yr destination and hotel address written down). If you are up
to it consider renting a bike for a day to explore on your own. If you do
this you will need to have a practical bag for your cameras of course.
Many of the cities in China are huge (over 100 with 1million+ population)
and even what are called villages can have almost one million
inhabitants...
If you shoot mostly colour negative then that is widely available and not
too expensive (more than B+H but less than most other places). B+W or
transparency: my advice is to bring it in yrself. That is what I do
(suitcase at a time).
Planes are usually pretty cramped so don't bring too much carry on if you
can avoid it. Don't bring too many clothes: they are a bargain here and
you might consider buying them as you need them: cost for a nice shirt,
underwear (NB Ted!) etc is not that different than the laundry charges in
the fancy hotels.
Electricity is 220v and adapters + (dodgy) transformers are available at
most hotels. For some strange reason the Silver 1.5v cells used in Leica
M6s are impossible to find these days in this part of the world: even Hong
Kong (where I cleared out the last store - a Leica dealer no less - I
could find that had them in stock). The 3v Lithiums are also v tough to
find. 1.5v alkalines work and are widely available but last only a very
short time.
A polaroid camera is indeed a nice idea or at least a P+S so you can take
and give snaps on the way (there are over 5000 Kodak minilabs in China
already!).
Hope this helps
Adrian
p.s. please note my e-mail is [email protected] (Ted gave you an old
and obsolete one)
--
From Contax Mailing List:
I've not been to North Africa but have done a lot of shooting in our
American deserts and would assume that conditions are somewhat similar.
No matter what you take, you will get sand in it, so you just have
to accept that fact. Plan on getting whatever you take cleaned
professionally when you get back. In my experience lenses seem to suffer
more than cameras, with fine grit getting into the focusing helical
and making focusing rough.
You could try putting your camera in a plastic zipper bag with a hole
cut for the lens and a rubber band around it there to make it sandproof.
EWA makes special plastic heavy bags for using cameras in shallow water
or in dusty environments. They have a clear glass "window" for the
lens and for the eyepiece. These would probably be the best possible
thing for the desert but I confess to being too lazy to use them.
I'm going out west to Las Vegas at the end of next week and hope to
do some desert photography while there if it isn't just too damned hot.
The wind is what gets you. When the wind whips up the fine sand and you
feel it gritty on your scalp, you know your camera is suffering.
I'm still trying to make up my mind if I will take my own cameras out
with me and clean them when I get back or to just take Canon or Nikon
cameras I have on loan!!!
Bob
....
[Ed. note: 35mm SLR users, read this - promise to never complain about
35mm camera weight again versus large format!!! ;-) ]
[email protected] wrote:
Hi Roger,
You might also try posting your question in the large format equipment
group rec.photo.equipment.large-format. This is a fairly common
question that comes up regularly in that group.
I think you might want to actually weigh your camera gear (or perhaps
not ;^} ). From what you describe, it sound like it will be more than
your 10-12 lb. estimate (the camera alone weighs about 6 lbs.). Just
for a rough comparison, I backpack with MUCH lighter camera (2 lbs. 12
oz.) three very light lenses (about 1 1/2 lbs. total) a carbon fiber
tripod (3 lbs. 12 oz. including lightweight ball head) and I use
Quickload film packets instead of conventional holders. On a six day
trip last October, the total weight of my camera gear, including the
pack I carried it in, was 17 1/2 lbs. That also included 75 sheets of
Vevlia in Quickload packets. Working backwards, if I subtract the
weight of the pack and all the film and the Quickload holder, that
leaves me with 11 lbs. of camera gear. Since my camera weighs over 3
lbs. less than yours, and you will be carring conventional holders (2
lbs. for five holders), I'd guesstimate your total camera gear weight
(not counting pack) to be in the 15 - 20 lb. range. Not that it makes a
huge amount of difference, just that you'll probably want a fairly
accurate number when trying on packs in the store. Better yet, bring
your gear along and actually put it in the pack you are considering.
BTW, I am not specifically recommending the Northface Yavapai. It works
well for me, but there are MANY similar style packs made by several
manufacturers. I just picked the Yavapai out as the model that best
seemed to meet my needs among the hundreds of available packs on display
at my local outdoors store. It's a little heavier than some of the
other makes/models (but better built as well), and is on the expensive
end of the spectrum ($60) for a small daypack. Still, it has worked
well for me so far, and I'm happy with it.
I've done a lot of backpacking with a 4x5 over the years (started with a
Speed Graphic). What I have always found to work well FOR ME, is to
carry the camera gear in a small daypack which is then placed in the top
compartment of my "real" backpack. For many years, this daypack was one
of the simple "bookbag" style packs used by students. About a year ago,
the waterproofing material began separating from the inside pack fabric,
so I replaced it with the Northface Yavapai. The Yavapai is a more
sophisticated, better built, more rugged pack with an unpadded waist
belt (pretty useless for transferring weight to your hips, but it keeps
the pack from flopping around). So, the camera gear goes in the Yavapai
(except the tripod, which gets strapped to the outside of the big pack),
and the Yavapai goes in the top compartment of my big pack. This keeps
the weight high and the camera gear accessible. Once I establish camp,
it also provides an easy, lightweight way to carry the camera gear off
on photo explorations (I just carry the tripod in my hand). The Yavapai
also has enough room for a light jacket and lunch inside, and two water
bottle pouches on the outside. This makes it good for dayhikes from a
central base camp. For padding, I wrap the camera in my darkcloth with
one lens mounted and a foam core ground glass protector. The other two
lenses each go in padded pouches/wraps. I like the Zing brand neoprene
pouches for small lenses, but lens wraps from Calumet and Gara Gear also
work fine.
I have started a large format homepage at:
http://largeformat.homepage.com
I hope to eventually have a very complete section on lightweight large
format gear for backpacking. The section is not complete, but there is
a page with a few hints on reducing the weight of your large format
system at:
http://largeformat.homepage.com/lightwei.htm
and from there, if you're interested, you can follow the links to my
lightweight lens recommendations.
Although you might not be interested in the camera itself, I posted a
very complete review of the Toho ultralight monorail I'm using for
backpacking these days. However, you might be interested in the section
titled "Getting Around" in which I describe how I carry this camera in
the field. In particular, Figure 17. is a picture of the outfit I took
on a 6 day backpack trip last October, including the Yavapai pack I
mentioned above. The Toho review can be found at:
http://largeformat.homepage.com/toho.htm
Also, Tuan Luong's excellent large format homepage has a section on
packs for carrying a large format system. It's not really specific to
backpacking with LF (mostly comments on the "photo packs", which work
well for dayhiking, but don't usually have enough room to also carry
camping gear). The URL is:
http://HTTP.CS.Berkeley.EDU/~qtluong/photography/lf/lfpacks.html
Hope that helps. Happy trails.
Kerry
From: [email protected] (BHilton665)
Do you already have camp site reservations at Phantom Ranch, Cottonwood or
Indian Gardens from the Backcountry Ranger Office? If not you likely
won't be able to score a campsite.
Or are you planning on doing the rim-to-rim in a day? If so you won't be
very comfortable carrying much gear in late August. I've day hiked
rim-to-rim 11 times, usually in late May (when the trail first opens) or
early October (just before the north Kaibab closes) but once in August, so
trust me on this one. We usually hike over, spend the night, then hike
back the second day. You'll need a cabin at the north rim when you arrive
(if going south -> north), which is also hard to get. It's a 21 mile hike
with 4,800 ft descent and 5,800 ft ascent (south-2-north) and temperatures
will likely be well over 100 degrees on a 5 mile stretch above Phantom
Ranch.
We usually start at 4 AM and take about 8 hours for this hike. You want
to be out before it's too hot. Friends have made it anywhere between 6
1/2 and 12 hours, depending on conditioning and heat. If you overheat too
much you can die in there pretty fast; two hiker deaths so far this year,
the most recent a Belgium hiker about 4 weeks ago due to heat stroke.
Fuji Velvia is even finer and a better choice if you have a light tripod
handy.
KG 200 is a good choice if you don't.
I would carry the 28 (24 is better) since you're in a hole most of the way
and weight is a factor. If going down south Kaibab try to start an hour
before sunrise and you'll be in good shape to shoot the sunrise about 1
1/2 miles down. Excellent early AM shooting from here to the river,
especially the 1.5 miles in the granite gorge just above Phantom Ranch.
Be sure to take the short side-hike to Ribbon Falls, which is about a mile
south of Cottonwood Camp (or 14 miles from south rim via South/North
Kaibab). Beautiful waterfall for 40 ft dripping into a bathtub sized
basin, which spills over another 60 ft on a moss covered wall. If going
south-north this is where we always stop for brunch. Another 2 level miles
or so to artist Bruce Aiken's house, then it's about 5 miles of
unrelenting steepness to get out.
You will probably be too tired to shoot much on the way up :)
I wouldn't take the 75-200 unless you are in there for 3 days (see above
about camping permits). It's fine for shots from the rim and down about 2
miles but not worth the additional weight once you're at the bottom, IMHO.
Good luck and be careful. August is brutal, early Oct is far better for
hiking rim-to-rim!
Bill
Date: Mon, 06 Nov 2000
I would take the 28/2.8 and the 75-150mm lens.
If I had to take only one lens...the 28/2.8 would be my choice.
I worked at the Grand Canyon for three summers and did plenty of
photography.
My film choice would be to take a warmer film such as Kodak Elite 100SW
or Agfa RSX 50. Have fun!
Viv wrote:
[Ed. note: word of warning re: travel and theft...]
[email protected] writes:
Must it be a camera bag?
The non-camera-bag-camera-bag trick works while in transit, but once
you're out shooting and people see you with a camera(s) around your neck
and exchanging camera gear from the bag, it's a camera bag.
One note of warning for travelling photographers: be very wary going
through carry-on security at airports. Thieves work in pairs, one
standing in the "out" lane and another going through the checkpoint. The
usual target is laptop computers (but cameras are fair game as well).
When the thieves see the target place his bag on the conveyor belt, theif
#1 steps ahead through the metal detector, loaded with metal to set it
off. As the unsuspecting victim is caught in line while theif #1 has to
go back through the detector, theif #2 grabs the bag as it emerges from
the x-ray and escapes back out to the street.
Date: Fri, 15 Sep 2000
I was in Monument Valley at dawn on July 31st, and it was a wonderful
experience, great shots on 35mm using Supra 100 on tripod. You can get
great shots from the road that passes thru, but you can get a guided tour
for a nominal amount of $$, and they will take you to the "good" places to
take pictures. I believe there are also photo schools run in that are at
various times of the year. Stop at the Burger King in town and see the
exibit on the code talkers.
Grand Canyon, less than 4 hours from Monument Valley. Big, Huge,
Impressive. Scary. In July it was hazy. Best time to shoot is sun up, sun
set. On the west end of the park, the surroundings are some of the
bleakest most sun blasted I have ever seen. That is photo op for another
time.
North of Monument Valley are many canyons and the like to stop and photo.
Get a map. I was hell bent to get to Monument Valley at dawn that I passed
thru that area at night. But I am going back.
West of the Grand Canyon is Hoover Dam (107 degree F in July!!) and that
Los Wages place. Ran around Los Vegas with a 50mm f1.4, and all the prints
were great. Even shots from the car - place is pretty lit up at nite. It
is a fun place to photo. People are fun.
North of Los Vegas is another area that is supposed to be extremely
photogenic, but I just did not have time. Had to get to Sequioa National
forest and Yosmite National Park. Both of which are pretty as pictures and
complete suprises in spite of what you may have seen in books.
Tripod, good hand held meter, and slow film. I filtered with some B&W, but
only used UV filters when I was shooting in mid day. I used Supra and
Superia and had great results. I do not shoot slides. I had 2 complete 35
mm systems and a spare body with me, but I wish I would have had a 645 or
etc. with me. And bring some way to carry your stuff on your back. I used
sholder bags and am still recovering.
There is a lot to do down there. Buy maps, lots of em.
rick ....
Date: Fri, 15 Sep 2000
JJS's comments on clothing are right-on - long sleave cotton shirts
(white's best, of course), long, light pants, a broad brimmed hat. It's
still unseasonably hot here - low 90's every day, low 60's at night,
lower at elevations, so be prepared for a range of weather. Might even
rain, though it hasn't in something like a month.
Working north to south - Mesa Verde is a frequent photographer's stop.
The fires are out too. The Durango/Silverton area is just starting to
show fall colors (just barely). You'll get some golden aspens against a
forest of green. There's also the narrow gauge railroad from Durango to
Silverton if you're looking for photogenic man-made artifacts.
Taos pueblo, as mentioned, is a usual stop. You might call in advance
about any restrictions so you don't show up on a feast day when they
don't allow photos. There is an extra charge for photography above the
admission to the pueblo. And if it is a non-photo feast day, don't even
think about taking photos. Aside from being incredibly disrespectful, if
caught someone will pull the film from your camera. And if they don't
know the best way to open it, they'll find one ...
Just N. of Taos (like 2-3 miles) a crossroad takes you to the Rio Grande
Gorge bridge. THe canyon below the bridge is something like 600 feet
down. Hard to get decent lighting, though.
Just south of Taos is Rancho de Taos with the church immortalized by
numerous photographers and painters. It's surrounded by houses and
shops, so don't count of matching Paul Strand's picture.
In addition to the church, Chimayo is known for its weavers (mostly
rugs). Might be some nice people shots there.
After 20 years, I've never found where Adams shot
"Moonrise, Hernandez NM". It's just a few miles north of Santa Fe, but
the roads have moved and lots has been built.
Just N. of Santa Fe is the village of Tesuque, where Shidoni foundry is
located. They have a fantastic (and free) sculpture garden. Never been
stopped from shooting there.
Depending on how long your visit is, you might overlap the Balloon
Fiesta in Albquerque, Oct 7-15. This is said to be the most photographed
event in the world, and I believe it. This year will feature over 1000
hot air balloons. Hotel rooms and rental cars get real scarce.
Near Socorro (70 mile S of Albq), you will find the Bosque del Apache, a
major bird refuge. A little too early for the big migratory flocks, but
might be worth checking. About 20 miles W of Socorro is Magdalena, home
of the Very Large Array radio telescope, which makes an appearance in
just about every sci-fi film. Very cool, esp if the radio dishes are in
an interesting configuration. (They're on railroad tracks and can move
for miles in a couple of directions).
White Sands - way south in NM. Unparalleled white gypsum sand desert.
That's just what comes to mind. There's a good reason why some many
artists make pilgrammages to NM.
David Strip
Date: Sat, 28 Oct 2000
Hi,
My wife Madlyn and I our putting together a trip to the Galapagos
Islands, on August 17 to 27, 2001. We are looking for 14 congenial avid
photographers to join us If you are interested or know anyone who is
please pass this on. It's always nice to have like minded people on a
trip. Visit our web site for more info.
http://www.allnatureswonders.com
From Leica Mailing List:
Paul Arnold wrote:
It has been my experience that people in front of a camera on a tripod,
ignore the whole thing. People, however, go out of their way to NOT walk
in front of your tripod. How do they know the front? By the way you are
facing.
Try this. Set up a tripod and camera, regardless of camera type, and have
the camera face one way, and you stand and face the opposite way. People
will go out of their way to go behind you (in front of the camera), or
they will pause, duck and run, then apologize.
But in either case, folks that are "already" in front of the camera on a
tripod, are oblivious to the fact that their photograph is being taken.
But not true if you stand there and raise a camera to your eye.
IMHE,
Jim
Date: Fri, 24 Nov 2000
The Premiere issue of the Travel Photo Workshop Newsletter/Ezine is now
available at http://kennethwajda.com/Newsletter/index.htm
It's free online or available via your email if you subscribe.
Learn simple techniques to shoot professional quality travel photos with
any camera, even a point and shoot.
http://kennethwajda.com/Newsletter/index.htm
Post your TRAVEL PHOTOS for Discussion/Critique
http://members2.boardhost.com/travelphoto/
Want to talk Travel Photography? I just created a FREE web board where
you can post your travel photos for discussion.
Post the good ones and we'll talk about what went right.
Post the bad ones and we'll talk about what went wrong.
http://members2.boardhost.com/travelphoto/
Happy Trails!
Kenneth Wajda
From Nikon Mailing List:
AIRLINE CARRY-ON BAG SIZE LIMITS---Not sure if you can carry on your
camera bag or case? You're not alone, since the size limit varies from one
airline to another. This list from Pelican, the manufacturer of waterproof
camera cases, and other sources will help travelers prepare for flight
check-ins.
From Hasselblad Mailing List:
Sounds like a nice list of specs for domestic travel, but I doubt it takes
the more universal international weight limits into account. My
understanding is that the international flights have to conform to
international rules. These rules do not apply to domestic flights, so the
airlines can make their own rules in those cases.
Obtained these maximum requirements courtesy of Porter's Camera. Bob R.
AIRLINE CARRY-ON BAG SIZE LIMITS---Not sure if you can carry on your
camera bag or case? You're not alone, since the size limit varies from one
airline to another. This list from Pelican, the manufacturer of waterproof
camera cases, and other sources will help travelers prepare for flight
check-ins.
From Hasselblad Mailing List:
For those interested,
Called a few airlines to verify and these figures are correct. Also,
weight given is for accumulated total for all allowed bags.
Bob R.
Date: Tue, 12 Dec 2000
Honestly, John's mail is very racist in tone.
I spent my entire childhood in India before moving onto the US. Given
the resources, the residents try and keep their homes and neighbourhood
very clean.
Visitors from outside India have to pay attention to the food because
it is spicy and different. Salads and other uncooked forms of food are
not a part of the traditional Indian cuisine. If you stick to good
restaurants and eat cooked food, there should not be any problems. If
you need me to identify good restaurants in any of the big cities, I
can help.
There have been problems with visitors drawing too much attention by
dressing up "differently" but Indians are mostly peace-loving and there
have never been reports of violence.
Some of the best places for photography are:
There are many more.
Good luck and I'm sure you'll enjoy your stay there.
Venkat.
From Nikon Mailing List:
you wrote:
The last time I was there, they had several bicycle rental shops and I
found this to be an excellent way to get around. Fast enough to cover more
of the park and slow enough to let me enjoy and stop for shooting opps.
From Nikon Mailing List:
Early March is a wonderful time to visit. I will make my sixth
"Winter Photography Mental Health Trip" to Yosemite in the last eight
years. First, the seasonal snow melt water flow is substantial, and the
water volume over the various falls is then prodigious. Second, RAINBOWS!
The sun is usually below the 42 degrees from the horizon needed for a
rainbow. If the weather is at all clear, then try Lower Falls from the
public viewing area about 8:15 a.m. There is a about a 30 minute rainbow
window from that location. You will gradually move from right to left to
keep the direct alignment of you between the sun at your back and the
vapor in front of you. This location is but a very short walk from the
parking lot across from Yosemite Lodge. You may catch a rainbow about 3:
15 p.m. from the large rock above the bridge below Vernal Falls. That spot
only lines up for about 5-10 minutes. At approximately 4:00 p.m. there is
at least a 40 minute rainbow window on Vernal Falls from the base of the
Mist Trail. Use your widest lens. The Mist Trail is aptly named, bring
Gortex or something waterproof as well as protection for your Nikons.
The bottom of the Mist Trail is less than a mile hike from Happy Isles,
and about 750' elevation gain. If you want to walk no more than 10' from
your car for a rainbow shot of Bridalveil Falls, try from tunnel view at
about 3:15 p.m. At about 4 p.m., you have a 30 minute rainbow window from
the Bridalveil parking lot. There is a wonderful early afternoon rainbow
period that lasts over an hour with some moving around on Upper Falls from
the billy goat trail well above Columbia Rock. However, that requires
over 1,600' vertical climb. You have to climb for the Upper Falls rainbow
shots as the angle of the sum is above 42 degrees at the valley floor, so
with your hiking well above the base of Upper Falls, you have reduced the
angle of the sunfrom your new elevation to the rainbow cloathed base to
below 42 degrees. Last year I was rewarded with some double rainbow shots
from that area. Also, since you are shoot from the side of the falls,
your background on the right prominently includes Half Dome.
For rainbow photography, read (and reread) chapter 5, "Extraordinary
Vision - Outdoor Optical Phenomena and the Control of Natural Light," in
Galen Rowell's Mountain Light. It works! The beauty of Yosemite in March
is that water vapor, direct sunlight and the necessary angle of the sun
(below 42 degrees) all converge on North America's greatest waterfall
collection. Also, while I often shoot Velvia, its saturation does NOT
work well with white water. Try Provia "F" and underexpose about 1/3 stop
to produce pleasing saturation. Always shoot rainbows and waterfalls with
a tripod, and bracket even with an F-5. Since the valley floor is about
4,000' above sea level, always use at least an 81A (A2 in Nikonese) to
avoid washed out pictures. Keeping a polarizer on at all times is also
not a bad idea, but do not polarize out a rainbow as that is easy to do if
not careful.
A third benefit to a March visit is the number of visitors is a small
fraction of the summer hoards. Fourth, by early March the seasonal winter
Pacific storms are usually (but not always) over. In March it would be
unusual for the valley floor to be covered by snow. In mid-February,
except snow even at 4,000'.
Transportation. There is now an excellent shuttle bus system in the
valley. At that time of year it is not crowded. I would not try the
bicycle approach. One NML member suggested hiking to Half Dome, and
driving to Glacier Point. He apparently did not visit in March. Even in
early March, you will need snow shoes above Nevada Falls (6,000'
elevation) as the snow depth often exceeds a man's height (I learned this
the hard way). Snow (we are talking well over 100'' with settling and
evaporation) closes the road to Glacier Point at that time of the year. It
may open by Memorial Day. There is a groomed cross country ski trail to
Glacier Point. However, it is at least a 20k round trip, and hard to ski
with a tripod strapped across your back.
There is a full moon on Friday, March 9th. Hopefully I can capture a
"moonbow" over Yosemite Falls on film. I would allocate at least two
mid-day hours at the Ansel Adams Gallery. It is an amazing repository of
wonderful images as well as photography books. Even with infants in tow,
there is still wonderful available rainbow and other shooting that time of
year without any significant walking.
If you want any additional information, email me privately. Enjoy a
great trip!
From Hasselblad Mailing List:
I travelled in Ireland last year with a couple Leicas, a 903SWC and a
Holga. I really loved working with the 903 both because of its compact
size and tremendously crisp negative. I found it wonderful for
landscapes and even some people photography. Generally, though, I used
it on a tripod so that has to be factored into your considerations. I
deferred to the Leicas primarily for people photos inside pubs using
Tmax 3200 and 75mm f1.4. The real difficulty was deciding when to use
the 903 and when to use the Holga. It makes for an interesting Ireland
portfolio to have images from both cameras.
Carl Socolow
From: [email protected] (BHilton665)
Visited many times, including April, as I live nearby and try to get up
there to photograph every time there's a good storm. In fact we just got
some excellent shots Valentine's Day when a quick storm dropped 4" on the
rim, with snow extending down about 3,000 ft.
You can check the official web page for average monthy temps (I think it's
with the backpacking info or somewhere like that). Early April is an
excellent time to go, slight chance of snow, better chance of highs in the
50's or 60's, lows in the 30's or so (it's around 6,800 - 7,400 ft
elevation, depending on the specific overlook you're at). We always try
to plan backpacking trips in April since it's not too hot below the rim
and there's plenty of water, but you might still see snow on top.
If the light is poor and flat a day is fine ;) If you luck into a storm
and get rapidly changing light with cloud shadows, etc, you can burn up
many days without repeating yourself. If you get there and it's not
happening then you can slip off to the slot canyons at Page or the painted
desert or Monument Valley or Canyon de Chelly or ...
Scattered clouds with cloud shadows are good for creating a sense of
depth. When the light is flat you lose this. Try to get something
meaningful in the foreground. Use a tele-photo to compress distances.
Shoot early and late when the light is best. Pray for a quick moving
storm with dramatic light. Hike part way down Kaibab trail early in the
day or late in the afternoon for a better perspective. (Kaibab is better
than Bright Angel since it follows a ridge after a mile and you can shoot
both upstream and down; BA stays in a drainage in the upper portion).
Some people recommend you use a polarizer to cut thru the haze.
Good overlooks to shoot from include Yaki, Hopi, Mather, and Grandview,
though you can see incredible beauty from just about any of them,
depending on the light. You'll have to ride the shuttle to the first
three but can drive to GV and the other scenic spots east of it like
Lipan, Moran and Desert View.
But then it's 120 miles round-trip driving just to get to the Canyon each
day, so I doubt you'll be up for sunrise (unless you leave very early).
If you're staying in Williams to save $$ consider the Bright Angel lodge
instead, I think small rooms start at $60 or so and it's about 50 feet
from the rim or 150 ft from the shuttle bus stop. Helluva a lot better
than driving back to Williams every night!
May the light be with you!
Bill Hilton
From: Liz [email protected]
There are two other serious considerations which no-one else has
mentioned:
1. You will most likely be travelling BA or Air Kenya. BA certainly has
a carry-on weight of *5kg*, Air Kenya IIRC is about the same. You will
have to put all your film in your hand baggage because of X-Rays. I have
taken to weighing every single item on kitchen scales before packing them.
It would be possible to put a lens, well-packed, into your hold luggage,
but it's a risk.
2. You posted earlier that you were going to go on a group safari. This
means that you will have between four and seven people in your vehicle.
this has serious implications for photography: It is quite packed,
especially with six or seven, and you don't have all that much room for
manoevre, so constantly changing your lenses or other equipment is pretty
impractical. You also don't have much room to spread out your stuff.
You won't know how many are in your vehicle until you get there. You will
be constantly compromising/negotiating with the others in your vehicle
about what you want to see and how long you want to stay at each animal.
Some people just want a quick snap then move on quickly to the next thing.
Some people only want to look at 'cats' and don't want the driver to stop
for dikdik or tortoises. Some weirdos (teehee) even want to look at
birds. Others in your group may or may not be serious photographers. On
our group tour we were six: A chap with a short-telephoto lens on his SLR,
never changed the lens. His partner, no camera. A chap with a
zoom-compact, his wife no camera. My husband who was drawing. Me.
You have to factor all these things into the equation.
There *are* specialist photo safaris, but they cost quite a lot more than
your earlier budget suggested (paying for an 'expert' and his single room)
Liz
--
From: "Joanna" [email protected]
To save weight I have an inflatable bean bag filled with polystyrene beads
which I got from Jessops - it moulds itself to the car window and camera -
or whatever and is really good.
Joanna
From Leica Mailing List:
Kyle Cassidy wrote:
Is Kyle wanting to take too much film?
40 rolls of 36 is 1440 exposures +/-.
In the past year, I have completed two 21-day trips to Europe, having
photographed everything I saw as even conceivably photogenic and I shot
far, far less film. On trips of this length, I usually take 8 rolls of
Supra 400 (or in the past, PMC) and 24 rolls of TX120 (at 15 exposures
each). That's 360 + 288, or 648 frames. This, in my experience, has
provided ample opportunity to:
o Shoot color duplicates of black and white shots taken in 120 as well as
different angles
o Do realistic and calculated bracketing with the medium format camera
o Take plenty of color pictures of my girlfriend in front of things.
o Take plenty of people "grab shots."
This program works out to about 17 frames in 120 and 13 frames of 35mm per
day, or less than one roll of 36. In 11 trips to Europe and 1 trip
through southeast Asia, this rate has generally held. If you are into
completely indiscriminate street shooting, I can't say that this would be
enough.
This is not solely a matter of space (for me it is space too, given the
size of the bags I take), but really one of discipline. I don't think you
need to take a ton of film (especially not color neg). I have always
found that the more film I have (or the cheaper it is), the worse the
photos and the more indiscriminately they are made.
o Take it easy, appreciate the sight, and wait until the correct moment.
Doing this not only helps you learn about what it is you are taking a shot
of, but it also prevents you from rationalizing not paying attention
because "you will have a picture of it later."
o Work to take the picture that no one else has taken (or could take).
Don't make a photo that anyone can duplicate (or better) by buying a
Kodachrome postcard from a street vendor.
o Think of every color picture as costing 75 cents and each picture you
print yourself costing $100. Make each picture count. Life is too short
to waste it printing or sorting bad pictures that could have been
prevented with a little effort.
Here is the making of this week's (travel) picture,
http://www-personal.umich.edu/~dante/settimana2.html
which shows the quick grab banal "notebook" shot (color) and then the more
studied black and white version.
They were taken about 20 minutes apart, but that 20 minutes was time I
spent wandering around the roof of Casa Mila watching the light and the
shadows.
The black and white photo, once I found the viewpoint, only took one frame
and one minute to shoot (to be fair, it took an hour of printing to
determine where the (phantom) midtones should be).
I often find it useful to take a quick color snap if only for reference in
printing the b/w later.
Dante
From Leica Mailing List:
...
Hi Dante,
But your not working it as it sounds like you are "holiday shooting" and
not producing stock images for a photo agency, doing a documentary or
material for a book or magazine assignment.
In the case of those of us who are working when we go overseas on shoots,
film is the cheapest commodity of all the expenses and it's always been my
one fear of running out of film no matter what country. So I'm usually,
lets say on a 21 day shoot, carrying 210 rolls of film because the budget
for any shoot anywhere I've ever gone on, even here in Canada or the USA,
where film is readily available, is a minimum of 10 rolls a day on
average.
And putting that through usually 3 M type cameras and 3 R type
cameras.Sure some days it's only a couple of rolls and the next can be 40
rolls! And yes 36 exposures all.
I believe the working folks always try just what you say, do it different
and better. But I buy the street vendor cards for locations and place
references as research material, we save countless hours of roaming and
looking. Not that we don't do that also, as it never fails a new set of
eyes see's the countryside or city in a completely different perspective.
And even though we buy the postcards we never copy the same picture, but
use it to give us an idea of the possibilities at the location. Another
good idea for travelers is to take one of the bus tours of the location
where you want to shoot and do this complete with a well detailed map and
compass.
Again this is a great time saver as you have a quick and unburdened trip
without fear of driving or where to park. Besides you can't do honest
research and drive the car at the same time, as you never see the details
and or are dodging the local crazy drivers! ;-)
ted
Ted Grant Photography Limited
Date: Mon, 28 May 2001
"R Cadloff" [email protected] wrote:
First hint -
Hop over to rec.travel.africa and post there for more first-hand info
thatn I can give you.
Second hint -
I haven't been to southern Africa but have been very surprised in East
Africa in July at how low the light levels often are. I only have
amateur, slow lenses, and often have to use faster film. On my first trip
I was always running around buying all the 200 and 400 films which were in
the lodge shops.
You may of course have fast lenses and want to use them full aperture, or
the light levels might be better in Southern Africa - though certainly not
in the Cape area. Namibia I believe is very good in this respect in July.
Of course, you can always push your slide film, which is what many people
prefer to do.
I believe the Provia 400F is a pretty decent film, though I haven't got a
hold of any to try out yet.
Third tip - (well, not so much a tip as a point)
Why don't you know when you'll be shooting?
If you're traveling yourself, you set your own agenda.
If you're on an organised tour, a decent company should have sent you a
very detailed itinerary which gives you all that detail practically to
the minute.
Have fun on your trip.
Liz
Date: Mon, 28 May 2001
If you're going to be shooting slides, you could try the Fuji Multispeed
film, which can be rated between ISO 100 and ISO 1000. I've used it with
good results at ISO 100, 200 and 400. It's a little more expensive than
most other films but it does give you lots of flexibility - though
obviously you must remember to mark each film as you expose it with the
ISO rating used.
Rob.
Date: Fri, 8 Feb 2002
From: Patrick Bartek [email protected]
To: [email protected]
Subject: Re: [HUG] Zion / Bryce Canyon
fritz olenberger wrote:
> My wife and I are planning to spend four days in the Zion Nat'l Park
> / Bryce Canyon area of Utah taking photographs. We'd be going in a
> couple of weeks. Maybe take in Death Valley on the way back home.
> I'd like to hear from anyone who is familiar with those areas.
I've been visiting all three places, and the many places in between,
for the past 30 years, and everytime I go I discover new places and
subjects to photograph that I hadn't seen the other times I was there.
In Zion, start with the Canyon, all the way back to the Narrows. The
Narrows area with the Virgin River is particularly scenic, although
because its narrow (hence, the name), light hits the canyon floor only
around mid-day. The rest of the time, the canyon floor is in shadow
with only the upper walls illuminated.
The second area at Zion is Upper Zion, along the road to the east
entrance. Once past the tunnels, the road parallels a small arroyo
with a creek running through it. Lots of good stuff there, but
off-road parking near the really good places is hard to come by.
You'll have to walk a ways sometimes. Toward the end of the drive is
the Checkerboard Mesa area. It is open in Upper Zion, so everything is
well lit all day, but best in the early morning or late afternoon.
If you have time, check out the Pink Coral Sand Dunes, south of Zion's
east entrance. Best sunrise or sunset.
On your way to Bryce, if you leave by the East Zion entrance, there are
several photographic areas right next to the road. Try to leave early
enought to get to Bryce while there's light. Not only for the scenic
canyons leading into Bryce, but to do a quick scout of Bryce itself.
Since the Ampitheater is on the east side of Bryce, it is best shot at
sunrise and shortly after.
If you have time, take a side trip to Kodachrome basin before leaving
the Bryce area.
If weather permits, that is, no snow closure, return to Interstate 15
via the road through the Cedar Breaks area to Cedar City. There are
aspens and pines and lava fields and Navaho Lake. Good shooting around
Duck Creek right by the road. (Cedar Breaks National Monument is like
a little Bryce Canyon, but is closed from mid-October through mid-May.
Catch it during late Spring to mid-September.) Be aware that the area
is almost 10,000' above sea level, so it will be very cold. Two
winters ago, the snow pack reach over 20 feet (yes, FEET!) at the Cedar
Breaks visitor center. It actually completely covered the building. I
was there in mid-June and there was still 1 to 2 feet of snow still
remaining in shaded areas. If you have heart or pulmonary problems
don't go this way. The rarified air could cause you problems.
As to Death Valley points of interest: Dante's View, Zabriske Point,
the sand dunes (best at sunrise or sunset). Stop at the Furnance Creek
Inn to eat and look around. There are other areas, but the ones I've
mentioned are closest to park center. I'm assuming you'll arrive
through the east entrance, which is just about dead center, north to
south.
Have a nice trip.
--
Patrick Bartek
NoLife Polymath Group
[email protected]
From: [email protected] (Thor Lancelot Simon)
Newsgroups: rec.photo.equipment.large-format
Subject: Re: Travel Photography & Large-Format
Date: 4 Feb 2002
Eric [email protected] wrote:
>I was pretty disappointed when experimenting with a carbon fiber tripod,
>because it turned out that a decently solid head was a big part of the weight
>of the whole thing, and that aluminum legs didn't make it any harder to
>carry and cost way less.
I switched to an aluminum tripod when I started working primarily in 8x10
about five years ago. After I became frustrated with the limitations of
the 8x10 for some of my work (primarily night work) I switched back to 4x5
but kept the big tripod.
Lately I have decided that that's a mistake. The tripod outweighs the
entire 4x5 rig -- including five lenses -- by a good amount and is very
bulky and difficult to travel with. My compromise used to be a wooden
tripod with a Bogen head for the 4x5 but eventually I took off the tripod
head and returned to levelling the camera using its built-in bubble levels
and adjustment of the tripod legs; thus coming full-circle to the equipment
and technique I used as a relatively impoverished art-school student when I
first seriously shot 4x5. Later someone borrowed my spare tripod head and
didn't give it back and I have not really missed it since (though I should
get it back because I could probably sell or trade it for something useful!)
A sturdy flatbed camera and a wooden tripod with *no* head make a great
combination. It is light, relatively convenient, the wooden tripod soaks
up a lot of vibration and without a tripod head the camera is inherently
more stable *and* you save a lot of weight. Also there are no adjustment
levers or knobs sticking out of the nonexistent tripod head to get in the
way when moving around or packing up, nor to snag on things and break when
travelling by air.
>I usually travel with a field 8x10, but when traveling "light" I have been
>using a speed graphic and a pair of grafmatic holders. The lack of movements
I typically use two grafmatics and two single-sheet holders: N (a grafmatic)
N+1 (usually a grafmatic) and N-1 (usually the holders). If I find I'm
shooting all "N" or all "N+1" or whatever I can re-mark the second grafmatic
I shoot. I should really, however, get a third Grafmatic. If I'm going
very light I'll go with one Grafmatic and one or two film holders; then the
Grafmatic is always "N".
>is frustrating but it's tiny and no problem at all to carry. I carry a
>203/f7.7 ektar and a 150/265 convertable symmar (which the graphic will
>juuuuuuust barely focus at infinity, accompanied by some slightly ominous
>creaking noises :)
Mmmmmm, Speed Graphic. Don't some of the later Graphics have more
movements? When you say you can barely focus the Symmar at infinity I
assume you mean when it's converted to 265mm. Do you actually find it
acceptably sharp in that configuration?
I have a Wisner Trad, which I can highly recommend as a compact and
sturdy 4x5 camera for field work. I don't know much about the newer
models (e.g. the lightweight and "expedition" cameras) but when I
picked mine out the extra features of the Wisner Tech didn't seem worth
the extra weight and cost, while the cheaper Wista and Tachihara lacked
movements and bellows draw I thought I'd use.
>Seriously, though, if you take as a given that you're going to bring along
>a decently solid tripod, I wouldn't consider this set up any harder to
>pack around than a 35mm setup. Camera, two grafmatics, light meter, cable
>releases, changing bag, film box, and you're set.
Bear in mind that most people *don't* bring a tripod for 35mm. :-)
>Loading grafmatics in a small bag does suck, of course.
I tend to carry the full-on 8x10 changing tent when working with Grafmatics.
Mine packs up into a small stuff sack, so it is not as bulky as the kind
that folds up into a flat disc. It is a bit heavier but not much bulkier
than a rolled-up changing bag.
If you can deal with the limited choice of films, Readyloads are a great
way to save weight and space. The problem comes when you need a
black-and-white film faster than 100ASA. :-(
--
Thor Lancelot Simon
From: "Bruce MacNeil" [email protected]
Newsgroups: rec.photo.equipment.large-format
Subject: Re: Travel Photography & Large-Format
Date: Mon, 4 Feb 2002
I travel every weekend with:
8x10 Dorff
Large Gitzo with geared column
6 holders
360mm Nikkor W
Loupe
Level
Cable Release
Minolta Spot F
7'x8' roll of canvas
Duct tape
Lee Hood
The camera is in a shoulder bag: other stuff is in aanother shoulder bag:
tripod in hand: canvas under arm.
This is acceptable for 5 blocks and not one foot more.
I would use a carbon tripod but I need the geared column. With this rig I
have exposed a feew thousand sheets of tri-x. A while back I foolishly
bought a Tenba bag that I do not use.
From: [email protected] (Ted Harris)
Newsgroups: rec.photo.equipment.large-format
Date: 04 Feb 2002
Subject: Re: Travel Photography & Large-Format
I carry a similar rig to Eric's when I want to go light and the whole works
weighs less than a Nikon and a couple of heavy large zooms. The kit includes:
Horseman FA
90 Grandagon 6.3 or 110 Super Symmar XL
240 Fuji A
(if I want to take a third elns it is usually a 150 Apo Symmar)
Pentax Digital Spotmeter
Silvestri Tilting loupe
a couple of cable releases
Fuji Quickload holder
20-40 Quickload packets
It all packs up nicely in an old LL Bean small haversack and weighs less than
10 pounds.
Ted Harris
Date: Mon, 04 Feb 2002
From: "David Boyce" [email protected]
Newsgroups: rec.photo.equipment.large-format
Subject: Re: Travel Photography & Large-Format
I regularly travel with a linhof Tech IV 3 lenses (90, 150/260, 210) 3
Graphmatics and two standard double darks, light meter, tripod etc, oh and a
little Leica for "snap shots". I find it a little less convenient than with
just the Leica but when I print from the 4x5 negs latter...... Get a wood
tripod (I use Berlebach) and you will find it cheaper and in my opinion
superior to carbon fibre, feels nicer too.
I can get all my gear (except tripod) in a bag that can be carried on to
the plane, and still have room for a book, couple of T shirts, socks etc.
David.
...
From: Glenn Arden [email protected]
Newsgroups: rec.photo.equipment.large-format
Subject: Re: Sun position locator
Date: Mon, 04 Feb 2002
...
I do architectural photography and many times I've needed to know when a
certain part of a building will be in or out of the sun.
I had to shoot a North facing building once and there was only about a three
day window when the sun was on the north face. It so happened it was around
the shortest day of the year at about 7 to 8 a.m.
I shot a building 3 weeks ago to have the sun set behind the building across
the street before I could get the shot in the late afternoon sun. I had
driven 250 miles and spent most of the day to miss that one.
I saw the same ad several years ago and i missed getting it.
I want one of these things.
Life ain't simple.
Date: Mon, 04 Feb 2002
From: Ralph Barker [email protected]
Newsgroups: rec.photo.equipment.large-format
Subject: Re: Sun position locator
Don,
As one of the others responded, these devices are essentially a planning
aid, allowing you to determine what time of day you want to be at a
particular location. If you are planning a trip to your landscape
paradise of choice, for example, combining the device with a USGS map of
the area will allow you to plan (estimate really) when to be at mountain
"x" to get the shot you want. That lets you better plan your trip and
schedule your days. While it takes some effort, it is far better than
traveling 3,000 miles only to say, "Darn. I wish I had been here at
10:00 instead of 3:00."
...
From: [email protected] (Barrett Benton)
Newsgroups:
rec.photo.equipment,rec.photo.equipment.35mm,rec.photo.equipment.medium-format,r
ec.photo.equipment.misc
Subject: Re: Travelling with TOO MUCH equipment
Date: Sat, 26 Jan 2002
[email protected] (Dave Cattell) wrote:
> Hiya,
>
> I realise that it is generally a good idea to travel as light as
> possible but...
>
> I will soon be setting off around the world on a 6 month trip. In the
> past I've usually carried a fairly lightweight 35mm SLR kit (light for
> me is body and 2 or 3 smallish lenses). BUT this time I will be going
> to some very photogenic places eg Antartica so I'm keen to take my
> medium format camera kit (Rollei 6008 ie large, heavy and expensive)
> and some larger lenses for the 35mm body (eg 300mm f4, 80-200 f2.8).
>
> What I'd like to do is occasionally drop off the heavy stuff when I'm
> not expecting to use it for a few weeks and travel light. I've
> considered airport left-luggage and hotels which I've used with
> ordinary travel stuff like bags of clothing etc very successfully. But
> with camera equipment I'm concerned about security of course. I will
> be packing stuff in normal looking luggage and insuring it but it will
> be noticeable heavy.
>
> Anyone got any great ideas for solving this problem. Some
> airports/coach/train stations used to have large lockers available
> which would probably be ideal but I imagine Sept 11th probably removed
> some of those facilities. Plus it may be difficult to predict when
> they are available.
>
> Ideas greatly appreciated. Direct email answers also greatly
> appreciated.
>
> Dave.
I'm afraid the only method for "travelling light" is traveling light.
I simply wouldn't trust leaving my gear *anywhere*, regardless of how
"safe" personnel might tell me it is - I've heard enough stories from
friends and associates about a piece of critical gear simply "vanishing"
while they were out for a few hours.
Another issue is the phenomenom of finding something amazingly wonderful
to make a photograph of, then cursing to yourself for leaving that perfect
lens or different format camera back at the hotel. On my one trip to
France in 1992, I felt hamstrung because the only camera I had at my
disposal was a borrowed Nikon P&S; In hindsight, it turned out to be a
small blessing, because I had to actually *work* a bit harder for the sort
of shots I could almost absentmindedly make with an SLR with a slew of
lenses. Some of those pictures are among my very favorites. And, I never
had to think about what to take and what to leave.
This is the big reason why I recently decided to quit the
everything-plus-kitchen-sink SLR system I built over the years for a
smaller rangefinder-based system. What good is a system that "does
everything" when more than half of it stays in the closet most of the time
(and not with me on the rare occasion when I could really use it)?
--
BWB
From: [email protected] (street shooter)
Newsgroups:
rec.photo.equipment,rec.photo.equipment.35mm,rec.photo.equipment.medium-format,r
ec.photo.equipment.misc
Subject: Re: Travelling with TOO MUCH equipment
Date: 26 Jan 2002
Dave,
What you need to decide is whether you ar a travelling photographer or
a photographing traveller. If the key element of your trip is to
enjoy the various places, cultures, etc., then a 35mm with a three
lens kit should be plenty (i.e. camera(s), 28-XX, 50/1.8, 80-200,
flash). If, however, your main purpose for your trip is to make all
top-notch, award-winning photographs, then suck it up, my friend, and
enjoy the exercise from lugging a ton of equipment.
Whichever you decide, I hope you have a wonderful trip and get lots of
fantastic pictures. Enjoy!
Michael
...
From: "Mike Elek" [email protected]
Newsgroups:
rec.photo.equipment,rec.photo.equipment.35mm,rec.photo.equipment.medium-format,r
ec.photo.equipment.misc
Subject: Re: Travelling with TOO MUCH equipment
Date: Sun, 27 Jan 2002
I'd pack the essentials but not too much more. For Antarctica, I'd go with
manual cameras and not those that require a battery -- unless you can be
assured that you'll have access to electrical power. Otherwise, you just end
up with doorstops.
I'd definitely bring 35mm and maybe three lenses: wideangle, normal,
telephoto PLUS manual medium format.
Last year, I dragged about 25 pounds of equipment up the Great Wall: two
35mm bodies, three lenses and a Agfa Isolette folding MF. And it wasn't a
simple climb. Very grueling.
If I were to do it over again, I'd bring one 35mm, two lenses and a
Rolleiflex or my Ikonta and a monopod (both for shooting and as a walking
stick).
....
From: Lassi [email protected]
Newsgroups:
rec.photo.equipment,rec.photo.equipment.35mm,rec.photo.equipment.medium-format,r
ec.photo.equipment.misc
Subject: Re: Travelling with TOO MUCH equipment ... to Antartica
Date: Sun, 27 Jan 2002
(Having just completed my Sunday walk with a Rollei TLR in a nice winter
weather, -10 C and moderate wind, this part of the question caught my
eye:)
Dave Cattell wrote:
> ... BUT this time I will be going
> to some very photogenic places eg Antartica so I'm keen to take my
> medium format camera kit (Rollei 6008 ie large, heavy and expensive)
> and some larger lenses for the 35mm body (eg 300mm f4, 80-200 f2.8).
In Antartica, there isn't that much special to photograph, except the
scenery. You'd probably need a normal or wide angle lens. Even the
penguins are tame enough to shoot [sic] from close range. No need for
tele. A polarizer might be nice, to control the shade of the sky.
The camera has to work in *cold* places. The summer over there is about
as nice as the winter over here in Helsinki. I.e. it has to be a
mechanical camera. A Fuji rangefinder, like GW690. IMHO, a Rollei 6000
system is better in a studio. I haven't heard of any nature
photographers who use one.
-- Lassi
P.S. Rollei TLR is small enough to fit in the pocket of a wintercoat :-)
Date: Wed, 10 Apr 2002
From: Bob Shell [email protected]
Subject: Re: [Russiancamera] A Kiev 4 photo
Stephen Castello at [email protected] wrote:
> I've posted a photo in the Photo Gallery called 'Indian River Lagoon'.
>
> A view of the Indian River Lagoon through the driver's side window while
> driving. I've been trying to do something different, this time they came out
> better. :)
>
> Taken with a Kiev 4 w/J-8m using the good old sunny-16 rule.
Where were you when you took it?
I've spent a lot of time in that area over the last 20+ years because the
Shutterbug magazine offices are on the bank of the Indian River just across
from Cape Canaveral. I've driven the length of Florida a number of times.
Quite a drive.
My favorite place is Merritt Island, actually not an island but the northern
part of Cape Canaveral and a wildlife sanctuary. You can get great photos
of birds there, particularly when it is dry and they crowd together at the
ponds.
Bob
From hasselblad mailing list:
Date: Mon, 18 Mar 2002
From: "Peter G. Walker" [email protected]
Subject: Re: [HUG] Backpack?
Richard,
Yes, FedEx do deliver to New Delhi but, from my experience, this is not a
good idea. Anything coming in through this channel is subject to customs
inspection and duty. I know one person who had to pay $60 duty on a
spaghetti roller that his mother sent him - the item was worth about $25.
The best method for India is to bring all your equipment in your carry-on
luggage. Put your film in X-ray protection bags, as requesting a hand
inspection by customs only highlights the fact that your camera equipment is
not "tourist". Use a nondescript camera bag. Mine looks like a normal
backpack.
Even hand luggage is inspected by customs but usually only a cursory X-ray
glance. But, if you're unlucky and they decide that your photo gear is
"professional", they can send you to the red channel to negotiate the duty.
Regards
Peter
Email: [email protected]
URL: http://www.peterwalker.com
from rangefinder mailing list:
Date: Wed, 16 Jan 2002
From: "[email protected]" [email protected]
Subject: New article on travel tips.
I have assembled what I have learned about travel photography so far ("How
to survive a trip with your camera") at
http://www.dantestella.com/technical/travel.html
I tend to think the issues discussed there apply very much to the
rangefinder type of person. I hope someone finds it useful. Took long
enough to write...
Cheers
------------
Dante Stella
from leica mailing list:
Date: Fri, 26 Apr 2002
From: "Logan Reinwood" [email protected]
Subject: Re: [Leica] alaska...
Hi Steve,
I was in Alaska last summer for 3 weeks (Anchorage- Denali - Fairbanks -
Barrow - Fairbanks - Valdez - Seward - Anchorage).
We took the ferry from Valdez to Seward and made a cruise in the Fjord next
to Seward. We spent also 4 days at a bear camp (greatalska.com).
I had my M6 + 21 skopar, 35 f1.4, 50 f2.8, 90 f2.8 and
my Canon EOS 3 + 28-70 f2.8 + 300 f2.8 + TC 2x + TC 1.4X. + monopod
I used mainly Velvia/E100 VS and Provia 400F and some Delta 400.
I used the m6 for Scenery, landscape, people, etc. and the Canon
for wildlife (birds, moose, grizli, seawolfs, Wales, killer wales, etc.)
Conclusion:
- - the 50 2.8 and canon 28-70 was almost never used
- - I did not take enough Provia 400f
- - For good wildlife pic, a 400 2.8 would have been the lens to have with 2x
or 1.4x, I used 80% of time my TC 2x with the 300 2.8. So consider a long
tele-photo lens. I even stacked a few times the two teleconverters for some
"once in a life pic" such as bald eagles.
- - The weather is usually not really sunny and thus 400 ISO is a good speed
for film
- - If I would go again I would take M7+21+35+90 and rent a 400/2.8 and a
70-2000 2.8
Ejoy aour trip, it is really nice to spend a fews weeks without seeing the
night...
logan
From leica mailing list:
Date: Mon, 22 Apr 2002
From: Jim Brick [email protected]
Subject: [Leica] RE: RE: Ansel Adams on PBS TV
The thing about Yosemite is, if you have never been there before, that, if
you go, your sensory perception will be immediately overloaded. You feel
like a minuscule drop in an ocean as you stand there looking at granite
walls and domes tower thousands of feet over your head, water cascading
down in white ribbons from numerous waterfalls.
Their reflections in the Merced river pools and tiny lakes. All surrounded
by giant Sequoia trees. The Merced meanders through a lush green valley
which is the footing for these Granite monoliths. Tiny buildings speckle
the valley floor, looking like grains of salt and pepper next to the
massive granite walls.
Sensory overload!
To see this just after a light dusting of snow is about as mind boggling as
anything else in this world.
Ansel Adams was able to photograph Yosemite in a way that allowed the rest
of us to see that these awe inspiring features could actually be captured
on film in a way that made sense. We can look at Ansel Adams' photographs
and immediately get the feeling of being in Yosemite.
Now I challenge anyone on this list, who hasn't been to Yosemite, to go to
Yosemite and create photographs that you are happy with. Photographs that
convey the awe inspiring vision on film, that you have in your head.
Yosemite is so massive, attempting to capture this massiveness is very
difficult.
Actually, it is extraordinarily difficult. It can take many years of simply
living with the thought that you want to photograph Yosemite, returning
repeatedly, viewing, thinking, before you can even begin to start producing
results that approach the vision and feeling that is there.
I can hear the laughter now.
Those who go there regularly know what I am talking about.
Those who have never been there might be laughing, but wait until you go.
Regardless of how hard you try, you'll go home with rolls of film full of
happy snaps... Your photographs will not tell anyone what Yosemite is
really like.
Ansel Adams' photographs do.
I have several copies of a book published 20 or so years ago. "Yosemite and
the Range of Light." These are signed copies. The photographs are Ansel
Adams greatest Yosemite photographs. The book simply transports you into
Yosemite. You feel the magnificence.
I have never seen another photographer who had the ability to create
photographs about a place, whether Yosemite, New Mexico, the CA coast,
wherever, who could transport you into these places via simple B&W
photographic images.
All of Ansel Adams' scenic display images were "created" in his darkroom.
But the correct amount of silver had to be on the negative in the first
place in order for him to create an image that can suck you right in.
Ansel Adams was a true master of the craft of photography.
:)
Jim
...
From: "Colin" [email protected]
Newsgroups: rec.photo.equipment.35mm
Subject: Re: lens for African wildlife?
Date: Sun, 28 Apr 2002
Marko,
having stayed in South Africa for a few decades, and having visited Etosha
several times on photographic "expeditions", I may be able to offer some
advice. But first, let me say I envy you your trip! Etosha is one of the
most beautiful places on earth (for some of the photo's I've taken there,
you're welcome to visit http://www.users.bigpond.net.au/profoto/main.htm)
But on to your query - I am a Minolta user myself (and have been for about
20 years). For most of the wildlife shoots I've done, I've used the Sigma
70-210/2.8 APO with and without the 1.4 and 2x converters, as well as the
Tamron
200-400/5.6. For Etosha specifically, I'd stick to the Sigma with the
converter - one of the reasons being that you're quite close to the
animals, and if you are visiting Okakoujo, you'd do better at night around
the floodlit waterhole with a 70-210/2.8 than with a 300/4.
During the day the light in quite bright, so whether you use a 300/4 or an
5.6 lens is not going to make that much difference (apart from lens quality,
of course). I disagree with the comment that the animals can be far away
from the roads - yes, you do have to stick to the roads, but in general the
herds are reasonably big, offering numerous opporunities. Just outside of
Okakoujo, and also just outside of Namutoni, you will find extensive areas
with plenty of game, with slightly less around the Halali area. We've seen
everything from the car, without venturing off the standard roads. Best time
is early morning or late afternoon.
If you're going for smaller birds etc, lens choice would obviously be
totally different.
Lastly, I hope that you take the time to visit places like Kolmanskop
(Luderitz), the Petrified forest, the Fish River Canyon, and most
importantly, Sossusvlei - they are truly marvellous and wonderful areas,
abounding with photo opportunities. (Do not forget to take a wide-angle
lens..... and if you need someone to carry your bags, I'll volunteer!)
Regards
Colin
...
> > Hi. I'm going to Etosha National Park, Namibia this summer and I am
> > struggling between two lens options (for Minolta):
> > Sigma EX 2.8 70-200 plus 1.4X or 2.0X Sigma EX teleconverter and Sigma EX
> > 4.0 100-300 plus the teleconverter above.
...
From contax mailing list:
Date: Mon, 29 Apr 2002 08:23:04 -0700
To: [email protected]
From: Jan Decher
From: [email protected] (Bill Hilton)
Newsgroups: rec.photo.technique.nature
Date: 07 May 2002
Subject: Re: Grand Canyon Trip
>From: "Jay Beckman" [email protected]
>Heading up to the south rim of The Canyon day after tomorrow
>But I'm just curious if anyone out there might have stumbled across any
>areas which might have been a little less crowded or a little more scenic
>than average?
Your main challenge will be getting exceptional light, not finding a scenic
area, since there are many good spots to shoot from. As David said, the major
overlooks are there for a reason ... I'd suggest Mather Point (you can probably
still drive to this one) and/or Hopi Point for both sunrise and sunset, or Yaki
Point for sunrise. This time of year you'll have to take a shuttle to either
Hopi (west rim) or Yaki (the hiker's shuttle to Kaibab trailhead). If forced
to rate them I'd say Hopi, Mather, Yaki in that order, but a lot depends on the
light that particular day.
If these are a bit crowded then usually walking a couple hundred feet either
side will give you some solitude. You can also try Shoshone point, which is a
bit east of Yaki ... it's not marked but there's a parking area and you can
walk 1/4 mile to the point (they let people reserve this area for private
parties or weddings or whatever ... usually there's no one there).
If you *really* want something less crowded then hike down Kaibab trail an hour
before sunrise to Cedar Ridge (about 1.5 miles) and shoot the sunrise from both
sides of the ridge ... wait for the first mule pack train down, the one
carrying supplies to Phantom Ranch, and you can maybe get good shots of the
pack mules in the foreground. There are a lot of other isolated spots off the
trails but they require a stiff hike.
Many of the best shots I've ever seen from the Canyon, by guys like Josef
Muench, his son David, and Jack Dykinga, were taken from the popular points,
especially Hopi. I've spent a lot of time in the Canyon, rafting the length of
the Colorado river three times, hiking almost 1,200 miles below the rim, and
photographing from both north and south rims many times. Often it's hard to
get something exceptional because of the light and this time of year I think
you'll find a lot of haze and glare. I try to go up there during storms and
try to avoid it during lengthy periods of good weather (like now) because the
haze builds up too much and the perspectives across the canyon look flat.
If you live close enough, best bet is to try to time a trip to coincide with
rapidly moving storm fronts (which we haven't had much of this year). A stiff
rain will make the rocks look more saturated and colorful and also knock the
haze from the sky. Usually the storms blow in from the west and travel up the
canyon so in the afternoon (when most summer monsoon storms occur) if you get
lucky the storm will clear the air, wash the rocks, and give you a dark sky
background to shoot sunlight foregrounds (if you're lucky). If you're
lottery-lucky then you might even get a rainbow ...
>Also: Film Brand. Got a favorite that just seemed to capture the colors
>just right?
Every landscape professional I know who shoots there uses Velvia.
Bill
From: "fbearl" [email protected]
Newsgroups: rec.photo.equipment.35mm,rec.photo.technique.nature,rec.travel.africa
Subject: Re: Practicality of 400-500mm zooms in Africa
Date: Sun, 26 May 2002
I have only taken one tour in Kenya and Tanzania but here's my "take". The
drivers of the vehicles are very good. If you are taking photos they will
turn off the engine to minimize vibration. Sometimes they even want to tell
you how to frame the picture. One driver got disgusted with us for
photographing a termite mound. He explained that we would see the best
termite mound in the best lighting later that afternoon. We were using
manual focus cameras. The driver was used to photographers with autofocus
and kept whispering, "Take the picture. Shoot. Shoot." Talk to the driver
about what you can see that day and let him know what you are most
interested in. When we were there, the drivers would stop to talk to each
other about what they had seen and where. Perhaps they use cell phones now.
Each driver we had made every effort to keep us safe and to show us what we
wanted to see. We made a point to thank them for their afforts and to tip
them properly.
The drivers try to get very close to the game for you. Sometimes closer
than we were comfortable with. My wife took a 400mm lens and sometimes had
to ask the driver to back up. She got some great head shots of cheetahs,
leopards and lions with the 400mm. She just rested the lens on her hand on
the top of the van -- no bean bag.
I agree about the film. Take more ASA400 film. If you are lucky, you may be
shooting at dawn and twilite. Take some 800ASA. Some of the areas are lit
at night. If you can find some film you can use at 1600 or 3200 ASA, I
would take some with you. Depending on the area, you may also be shooting
in heavy shade. And you may want to use a polarizing filter, which will
cost you about 2 stops. Or you may want to use a graduated neutral density
filter. Either way, you will want faster film. I took a sepia filter to
get some of those "Old Africa" pictures.
I took the Sigma 170-500 zoom to Peru, both the Amazon and the Andes. It
does not hand-hold well for me. It needs a rest or a stable tripod. It
would have worked well in the vehicle in Africa.
If I were going back on the same trip to Africa, I would take 2 or 3 rolls
of 800ASA, 2 or 3 rolls of 400ASA and 2 or 3 rolls of 100ASA per day. Plus,
I would have a couple of very fast rolls for near-night shooting in ambient
light. Your mileage may vary. Elephants and lions sometimes walk through
camp at night and you don't want to make them angry with a flash. And
indoor lighting levels in the lodges and in tents are not nearly as bright
as we keep them in the US.
I have traveled a bit and feel that Kenya and Tanzania are a unique place on
earth. The density of the animals in the parks is stunning. I have seen
nothing like it anywhere else. I understand that other parts of Africa are
similar in impact. If you relax and open your eyes, it should be an
unforgettable trip. I hope you enjoy it immensely.
"Peter" [email protected] wrote
> The ASA100 will be great for scenic shots around camp, sunsets, and for
> shorter lenses on the roof. For 400mm and up, the ASA400 on the roof will
> be used much more. Also, lots of the best shots will be in the early
> morning and late evening when the animals are active. I've never used
> ASA800 and have always found ASA 400 to be the perfect fit. I must admit
> that sometimes in failing light, a higher ASA would have been nicer, as you
> start to lengthen shutter speed to compensate.
>
> As the the practicality of a 400-500mm lens on a beanbag, it depends on the
> other occupants of the LandRover. If they sit still, no problem. If they
> are jumping around, bad luck.
>
> I would be inclined to increase your percentage of ASA400.
From hasselblad mailing list:
Date: Thu, 11 Jul 2002
From: Ken Martin [email protected]
Subject: Re: [HUG] Wildlife
Sharookh:
I shoot a lot of wildlife, mostly with 35mm. Since I have a wide variety
of long 35mm lens including a 600mm F4 with a doubler it is relatively easy to
shoot a couple of hundred frames of wildlife in a day. About 10% of those
will be of publishable quality. When shooting with long lens technique is
critical, as vibration is a killer of sharp images . Slow film with long lens
is a challenge. I usually use ASA 50 or 100 speed film. Since even a 500mm
MF lens with a doubler is not even close to a 600m 35mm lens with a doubler,
the solution with medium format is to get close. It is one thing to photograph
a elephant and quite another to photograph a bird that is only 6 inches long.
When I acquired my Hasselblad it was for the purpose of shooting scenics.
While, it takes more effort and patience to shoot with medium format it is
worth the effort.
First how do you get close? With birds, the solution is blinds. Set up a
blind where the birds are feeding or nesting. With predators the solution is
far more complex. They have a highly developed sense of smell and you must
mask your sent and use calls or bait to bring them in to photographing
distance. With some of the predators that are indigenous to India, care should
be used to insure personal safety. Frankly I am not about to get within a full
frame shot of 500mm Hasselblad lens with a doubler to a tiger without some
other type of protection. Frankly I would have a loaded 458 Win. Mag by my
side. Last year I had a mountain Lyon decide to see what that good smell was
in the mound of leaves. He was only discouraged by the report of a 357 mag.
No I did not shoot the animal, but just shot into the ground. (the next shot
would have been in his head had he not decided to take a alternate path)
Can you use MF for wildlife, the answer is yes. Are you going to get more
publishable photos with a 35mm? The answer is yes, but if you can shoot
wildlife with a 35mm then you can shoot it with MF the results can be
spectacular. Good luck!
Ken
----- Original Message -----
From: Sharookh Mehta
To: [email protected]
Sent: Wednesday, July 10, 2002
Subject: [HUG] Wildlife
I have recently been contemplating going to one of the wildlife sanctuaries
here in India. Apart from 35mm, how would you approach photographing wildlife
with a medium format set-up. Has anyone tried this. If not, how would you
address this??
Sharookh
From: "Al Denelsbeck" [email protected]
Newsgroups: rec.photo.equipment.35mm
Subject: Re: Film suggestions for wildlife
Date: Sun, 4 Aug 2002
TheMartian [email protected] wrote..
> I am going to finally try my hand at shooting wildlife, starting with the
> zoo, where I will not be able to use a tripod, or very long lens (they
> want a permit for that)
>
> Any suggestions on film?
>
> I like slide film, and was thinking of pushing provia F-100, any thoughts
> on that?
> Current thoughts on lens are, 28-70 f2.8, 80-200 f2.8 and 50 f1.4.
>
> My only real attempts at wildlife are here on photo net
> http://www.photo.net/photodb/folder.tcl?folder_id=220926
>
> Thanks.
Generally with wildlife, the longer reach, the better. If you can use a
2x converter with the 80-200, I'd aim for that. At a zoo, it may be less
demanding of focal length, but then again you might be trying to rid your
shots of any telltale backgrounds
How's the zoo feel about monopods? Failing that, try the long strap
under the foot trick, pulling the camera up against the tension. Not great,
but a little more stable.
I like Provia 100F, a bit saturated without going overboard, slightly
high contrast. Pushes exceptionally well, contrast stays pretty manageable
(I shoot at 320, process at 400). The other favorite for nature is often
Velvia, mostly because it produces brilliant greens, but I wouldn't suggest
it handheld. It's quite high contrast, and I've never tried to push it - I
imagine contrast would get fierce.
Another trick in zoos is using flash ("wow, that's a trick?"). You can
boost shutter speed and drop backgrounds into darkness, which will often
hide the walls or fences. I'd suggest a softbox.
Good luck!
- Al.
From: TheMartian [email protected]
Subject: Re: Film suggestions for wildlife
Newsgroups: rec.photo.equipment.35mm
Date: Sun, 04 Aug 2002
...(quotes above posting)
Looks like the strap, under foot is the go for me, with the Zoo not
allowing even monopods. Will also try a bean bag, never know may get away
with that one.
I do not have a 2x, but will give the 1.4x a go. From past experience its
good to excellent on the 80-200.
I had all but ruled velvia out, with the lighting not being wonderfull,
and the lack of a tripod or mono pod. I used velvia for one of those
shots on photo.net.
Not sure if flash is allowed but will give it a go and see who shouts.
Thanks for the help.
--
www.ozetechnology.com
From: Matthew David Farrell [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Backpacking Tripod Ideas
Date: Fri, 16 Aug 2002
Hey, thanks for all the posts and advice on backpacking tripods. I
decided to buy a cheap ($25) tripod, the Slik Compact XL with a 2 way
panhead, and strengthen it with extra bolts as needed, as well as a hook
to add weight to the center to stabalize the tripod. The whole tripod
weighs in at 1 pound 3 oz, and gets just high enough for me to look
through while sitting on the ground. I may end up switching out the head
for a mini-ballhead if the current head doesn't work well enough or breaks
(it seems to be a little flimsy.) The tripod is rated at being able to
hold 2 lbs, 10 oz, and since my heaviest lens/body combo is about 1.75
pounds, I figure that with the modifications I'll be fine. I may decided
to get rid of the center column completely, and use one of the late (god
it feels awful writing those words) Galen Rowell's ideas of just using a
bolt and a couple washers where the center column would be. The last leg
joint seems like it might be a little wobbly, so if anyone has any
experience with strengthening leg locks, or replacing leg locks with
homemade ones, ideas for that would be great (although I don't expect many
people to have tried to replace their leg locks.) If theres no way to
strengthen it, I can just not extend it fully, which seems to help with
the minute wobbling. Thanks again for all the help,
-Matt
By the way, I thought the PVC pipe tripod idea was really interesting, but
I don't have time to build and test it sufficiently before my big trip.
Thanks anyways though.
From: "Michael Wain" [email protected]
Newsgroups: rec.photo.marketplace
Subject: Live chat photography/wildlife
Date: Wed, 4 Sep 2002
I have now added "Live chat" to my site. Under discussion is Wildlife
photography/photography.
It's easy to log on, no password needed.
Give it a try.
http://www.mcdcwain.freeserve.co.uk
Thanks
Mike Wain
[Ed. note: a handy reminder to check all fees before mailing items overseas - esp. Fedex!]
from rollei mailing list:
Date: Thu, 05 Sep 2002
From: Nathan Wajsman [email protected]
Subject: Re: [Rollei] Vacation Film Is Taxable?
Kevin,
In principle it is correct that when you ship something into a country, it is
subject to duty and, in the case of a European Union country like the UK, local
VAT. In practice there are no duties on most products (except agricultural
commodities and a few other exceptions) shipped between OECD countries these
days thanks to the many rounds of trade liberalization. But VAT is chargeable
when an item enters an EU country from outside the EU; in the UK that would be
17.5% of the declared value. Having said all that, most countries have a limit
below which they do not bother. When I lived in Belgium, and I received a
package with a declared value of less than around $50, there was nothing to
pay.
But...what you have discovered is that one should NEVER use FedEx to ship
things. I suspect that most of the bill they sent you is their own fee for
clearing customs for you. They will charge you this fee even when no duty is to
be paid. It is a total rip-off. I once bought something in the U.S. for $80 and
had it shipped to Belgium; the Belgian VAT amounted to around $20 but FedEx
charged me over $60, the remainder being the fee for their "service". I had no
choice but to pay it, but made a mental note to never again use FedEx except
for documents and other things with no commercial value.
Next time you ship film in this manner, always use the Post Office. A simple
air mail package to the UK will cost much less than FedEx's shipping charges,
and more importantly, there will no outrageous customs clearance fees. Or if
the time is really of the essence, use Express Mail--it will still save your
from the FedEx scam.
Or better yet, just take the film with you, or buy it in London--no problem
finding 120 film there, and that way it will only be scanned once, on your way
ack. As long as you carry the film in your cabin baggage, it will not be
damaged by the x-rays despite various urban legends to the contrary. It is only
*checked* baggage that gets zapped with film-damaging scanners.
Nathan
"Kevin D. Ramsey" wrote:
> Hello All:
> I took my 6008 to London this summer and, based on the recommendations here
> and on various Web sites, decided to minimize the risk that my film would
> be x-rayed and shipped it in lead bags to and from my home in the U.S. and
> my hotel in London. Last week I received an invoice from Fedex for the
> taxes and tariffs for sending the film to the U.K. When I called and
> pleaded "personal use" I was told "All items entering the U.K. are taxable,
> regardless of use."
> Anybody heard of this before? I can't believe this is true. If so,
> shouldn't I be paying tax on my camera, clothes, and luggage as well (he
> said, only somewhat joking). Any ideas on how to fight this? They're asking
> for 50% of the value of the film. The collection agency started calling
> yesterday, so I know time is running out before I have to acquiesce and pay
> them their eighty dollars.
>
> Any advice would be most appreciated!
> Thanks.
> Kevin
--
Nathan Wajsman
Herrliberg (ZH), Switzerland
e-mail: [email protected]
From rollei mailing list:
Date: Thu, 05 Sep 2002
From: Bob Shell [email protected]
Subject: Re: [Rollei] Vacation Film Is Taxable?
Kevin D. Ramsey at [email protected] wrote:
> Anybody heard of this before? I can't believe this is true. If so,
> shouldn't I be paying tax on my camera, clothes, and luggage as well (he
> said, only somewhat joking). Any ideas on how to fight this? They're asking
> for 50% of the value of the film. The collection agency started calling
> yesterday, so I know time is running out before I have to acquiesce and pay
> them their eighty dollars.
It's all in the paperwork. When sending film to yourself like this,
something I have done often in the past, you must find out the way to do the
declaration and invoice for the country you are shipping to. Unless it has
changed, for the UK you have to declare the film as a "temporary export" and
use the phrase "will not be entered into the commerce of the UK" on the
invoice and customs declaration.
I don't think you have much hope of fighting it after the fact if the
paperwork wasn't done right in advance.
Bob
From hasselblad mailing list:
Date: Wed, 18 Sep 2002
From: Beau [email protected]
To: [email protected]
Subject: Re: [HUG] What's back east?
Hey Tom,
> I'll be going on a road trip from Roanoke, VA to Seattle, WA with a friend
from Oct. 25 to Nov. 5 or thereabout. Where do you suggest we stop to take
pictures?
I live just outside of Roanoke - are you from these parts, too?!? My
sympathies. :) I've planned a trip down the Blue Ridge Pkwy from Roanoke to
Roan Mountain (a little over 5,000 feet in elevation) which is almost where
VA, NC & TN intersect.
I'll spend a couple of nights around Roan, (Elizabethton, TN) then head down
for the obligatory trip to the Smokies, where the mountains top out around
6,600 feet. (Virginia has Mt. Rogers which is just a hair shy of 6,000' -
our tallest mountain) I'll stay in Gatlinburg, where I used to live.
(Watson's Motel has great rates - about $50/night in leaf season - it ain't
the Hilton, but it's clean!)
Anyhoo... my rationale is to go for mountains with a good change in
elevation because there are several things beyond our control with regard to
leaves, like weather and when they'll peak. If you're near good mountains,
you can minimize these variables by going up or down in elevation.
If you're in Roanoke now, this month's edition of "Blue Ridge Country" - on
sale now at Barnes & Noble in Roanoke - has as its cover story "Best Leaf
Drives". If you're not in Roanoke, the magazine's address is: POB 21535,
Roanoke, VA, 24018-9951. Phone: 1-800-877-6026. Here's a summary:
1) Chilhowee Recreation Area, Tennessee. Forest Service Road 77 leads you to
the top of Chilhowee Mountain and the Chilhowee Recreation Area . . .
2) Kentucky's Lush Forest (This is heading more in the direction of
Seattle - but still rather far away!) Follow Zilpo Scenic Byway (Zilpo?!?
Like Seargent Zilpo?) through forested ridges and hollows in the Daniel
Boone National Forest in E. Kentucky. Only 11 miles long, the byway (Forest
Rd. 918) has plenty of marked interpretive stops and overlooks. Watch out
for the pot growers!! ;-)
3) North Carolina's Forest Heritage Scenic Byway through Pisgah National
Forest in western NC... (This is very close to Roan Mtn and Looking Glass
Rock, which is a pure granite, HUGE rock, sticking up out of the forest -
very nice when water freezes on it . . . or not!) This is also close to
Asheville and Biltmore House - which is just unbelievable. Can't take
pictures inside, tho - they wanna SELL you THEIRS!! (yuck!) The *grounds*
around Biltmore will just make your jaw drop tho' - and you *can* take pics
of that. Big $$ for admission but *worth* it!!
4) Mount Rogers - VA's highest peak. This is only about a 2-2.5 Hr. drive,
SW, (I81) from Roanoke. It's nice and tall, too.
They go on in the article to include Georgia, but that's pretty far out of
your way. If you do make it to the Smokies, check out a little-known
favorite spot of mine: Albright Grove, near the Greenbriar section of the
Great Smoky Mtn. Nat. Park. The ranger station can tell you how to get
there. It's one of the few stands of virgin tulip poplars left on the east
coast and they're big enough to drive a car through!! And they're
hardwoods!! Kind of a long hike, tho' - I guess that's why they're still
there . . .
I hear, but have never been, that Canaan Valley in West (by God!) Virginia
is good, too.
Lastly, the drought's been *really* bad here in VA and in NC . . . "they"
say the colors won't be so hot this year, but *I* say "Phhhhhtttt!!!" And
you can't go wrong heading either direction on the Blue Ridge Parkway, which
runs right by Roanoke, north to south . . . all the way to the Smokies in
Tennessee! (Crowded, tho!)
Good luck!
beau :)
From: "Ken Wyatt" [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: grand canyon equipment help
Date: Fri, 20 Sep 2002
Hi, wish I could tag along with you! Sounds like a great trip!
I might mention a couple of "don't miss" spots along the way: Lower Antelope
Canyon, which is located just east of Page next to the power plant. You'll
need a tripod and wide angle lens and 15 to 30 second exposures with 50
speed film, but the canyon walls will amaze you. This might just be one of
the highlights of your trip. Do not miss this! Since this is owned by a
Navajo family, you'll be expected to pay a fee on the order of $10-15. It's
worth it.
The other spot is an unmarked right-hand turn-off just south of Page about
5.5 miles (I believe it's about a half-mile past where the high-tension
wires cross the roadway). There will be a short dirt road with a parking
area, which can be seen from the highway. Take a 3/4 mile trail towards the
NW and you will come upon another wonder - Horseshoe Bend - a giant loop in
the Colorado River. You'll need a 20mm lens to capture the whole thing -
it's so immense.
Now back to equipment. Sounds like you have all the basic lenses. I'd add a
2-stop soft graduated split neutral density filter to equalize the
brightness between the sky and landscape. The Cokin "P" series will fit both
size lenses. You'll need to also pick up the holder and adapter rings to fit
77 and 52 mm.
I'm still very partial to the LowePro "Off Road" bag. This should hold all
your gear and can be hand-carried, strapped around your waist, or carried
over the shoulder. It's also not so large that it would be a problem at
airports. Although I own several models of photo backpacks, I find them to
be more of a hassle than they're worth. besides, with the off Road strapped
to your waist, you can still wear a daypack for jacket, lunch, etc. See my
equipment recommendations at:
http://www.wyattphoto.com/Ken/html/whats_in_my_bag.htm.
I've not had too much trouble at airports, but note the following:
- Do not place film in CHECKED luggage. New x-ray machines destroy
unprocessed film. It's OK to place in carry-on bags and the low-powered
x-ray scanners at the check-in will not hurt film below 800 ASA.
- I try to fit my tripod in my checked bags (wrapped in clothing). I've also
carried my backpack with tripod strapped to the side without a problem.
- If you do decide to get a backpack, make sure it fits the new-sized
templates, or you will be asked to "gate check" the bag. Lowe-Pro's Web site
indicates which models are overhead compatible. Most airlines Web sites
indicate bag size limits, as well.
- I remove all my film from their packaging and place all the
film/cannisters in a large clear Zip-Lock bag for ease in hand inspecting.
Note that although US airline regulations stipulate a hand-inspection of
carry-on luggage, since 9/11, inspectors have been ignoring requests. Don't
worry about film - it really won't get damaged during the scans.
The one book I'd recommend would be John Shaw's Nature Photography Field
Guide. You should be able to get it in time from a large bookstore or from
Amazon.com at:
http://www.amazon.com/exec/obidos/tg/detail/-/0817440593/qid=1032570103/sr=8
-7/ref=sr_8_7/002-9582686-7956844?v=glance&s=books&n=507846
"Rangrsz263" [email protected] wrote
> A spur of the moment gift of a trip to the GC, from Phoenix to the North Rim,
> with Monument Valley, Mesa Verde, Petrified Forest, Painted Desert in between
> has resulted in a fairly desperate search for info. about what photo equipment
> is best for these places. Along with this trip, my husband also gave me a
> Nikon 80-200 f2.8 lens for which I have no filters. With such a short time to
> order, I hope someone can offer some advice--he did give me a polarizer for the
> lens but I wonder what a basic filter kit for this area would include. From
> what I can see, the most useful bw filter might be an orange one. I do have my
> 24mm, 105micro and a shorter zoom but they are 52mm filter sizes. I am not much
> of a gearhead, have pretty much left the landscape photog to the many
> dedicated, real geniuses in the field and specialize in b/w but am looking
> forward to trying something completely new. Any suggestions about
> backpacks?trouble at airport with film and tripod?I hate being so ignorant and
> have only days(leaving sept.30) to prepare--I have a few old library books but
> not much else. I have found friends of arizona highways website and a lot of
> personal photo pages. Thanks for any specific advice or info.
From: "Geoff Bryant" [email protected]
Newsgroups: aus.photo
Subject: Plant and garden photography
Date: Sun, 3 Nov 2002
Last week I posted a response to a thread in rec.photo.digital about flower
photography. I had a few replies and some requests for tips, so if anyone's
interested please feel free to visit my website, which I've updated this
week, adding more photographs and around 100 of the many garden articles
I've published over the years and a few photo articles too, including one on
flower photography.
Incidentally, I've written a book on horticultural photography (not yet in
print). My publishers tell me that it received a favourable response at the
recent Frankfurt book fair and may soon be quite widely published.
Another incidentally, many of the photographs were taken in the Christchurch
Botanic Gardens, which is well worth a visit at this time of year if you
fancy paddling south-eastwards.
Geoff Bryant
http://www.geoffbryant.com
[Ed. note: thanks to Steve White for sharing these tips on his traveling kit! ]
Date: Thu, 7 Nov 2002
From: Steve White [email protected]
To: [email protected]
Subject: spare cameras
I travel a great deal and have found out that I use a "shoot and scoot"
style. I work out of a Domke F1-x bag. Inside are 3 bodies with motors, 6-8
lenses, 285 strobe, spot meter, filters, extra batteries, cleaning and
emergency kit. I use the older Minolta X-700s for durability and quality.
Usually I leave the bag at the hotel or car and fill the vest and put 17mm,
28-90 f/2.8, and 70-210mm f/2.8 on separate bodies and go for my daily walk.
I've found this works for 95% of my shooting. Even with the motors it doesn't
make you feel like a pack horse. If your shooting the crowded streets of Delhi
or street performers in Paris this has worked well for me. If one of the
cameras dies you are not out cold. I have used this system for most of 15 years
and have enjoyed it.
Steve White
[email protected]
from manual SLR mailing list:
Date: Sun, 01 Dec 2002
From: Mark Kronquist [email protected]
Subject: Re: [SLRMan] Electronic vs. Mechanical from experience
On safari in Tanzania in 1994...my wife and I were shooting with Leicas (M
and R6) many others had EOS F4s N90s etc. ALL were experienced advanced
shooters or pros and ALL brought at least two sets of spare batteries.
Constant autofocusing of very long zoom lenses and high motor speeds coupled
with 14 days of high heat, high humidity, dust, dirt and grime and more
than a few flash photos around the camp areas at night ate through batteries
like candy. It also caused a fair number of electronic cameras to fail.
In tented camps and small very remote villages in Tanzania, you cannot buy a
carbon zinc double A cell...lithium? Forget it.
Meanwhile those with Leica Ms R6s Nikon F2s FMs Olympus OM 3s etc just kept
shooting
Mark
...
From: [email protected] (Bill Hilton)
Newsgroups: rec.photo.technique.nature
Date: 07 Dec 2002
Subject: Re: Lanscape lenses
>> What prime lens is best for landscapes
As the others have said, there is no right answer.
But FWIW, if I had to pick 3 fixed focal length lenses for 35 mm landscape I'd
probably choose the 24 mm, 35 mm and 100 mm.
I think Galen Rowell once wrote he got about 80% of his best images with the 24
mm and the 105 mm.
From: [email protected] (Bill Hilton)
Newsgroups: rec.photo.technique.nature
Date: 08 Dec 2002
Subject: Re: Lanscape lenses
>>>Yeah i have a high quality canon 50mm though Ansel Adams always described
>>>the 50 as the least interesting focal length
>>Ansel Adams and about 98% of all the other landscape photographers :)
>From: John [email protected]
>
>But isn't it funny how many use a 150 lens on their 4X5 ?
The two best 4x5 landscape photographers in my area are probably Jack Dykinga
and David Muench, and neither uses a 150 very often, if at all. I've shot with
both of them in the field (Jack in Utah and Arizona, David in Alaska) and
noticed they are really big on wide angles for getting a strong foreground with
infinity focus backgrounds, or on medium to short tele's for isolating a
smaller slice of a scene.
Dykinga's most famous Arizona photos (saguaro bloom with sweeping arm framing
another saguaro, or the curly juniper root at the mouth of the Wave in Coyote
Buttes) were both taken with a 75 mm (24 mm equiv on 35 mm).
Jack used to be a photo-journalist (a Pulitzer prize winning photo-journalist)
and said he used 4 lenses on the street with his 35 mm, a 21 mm, a 35 mm, an 85
mm and a 180 mm. When he switched to 4x5" landscape he picked lenses with
similar angle of view as his main weapons, namely the 75 mm, 110 mm, 180 mm,
270 mm and 400 mm (this info is from his book "Large Format Nature Photography"
... for those who don't know 4x5 focal lengths, divide by 3 to get a rough 35
mm equivalent). So far as I know he doesn't even own a 150, last time I saw
him he was jacked up about the new 58 mm from Schneider though.
In some of Muench's books he has detailed info at the back on lens choices, etc
and he's a wide angle, short tele guy too for the most part. For example in
"Plateau Light" he has info on 116 photos. His most popular lens was the same
as Jack's, the 75 mm, which is roughly a 24 mm equiv to 35 mm film. 42 images
were taken with this focal length. Next most popular was the 500 mm (~180 mm
equiv) with 24 images. Tied for third most popular were the 47 mm and the 300
mm with 17 each, then 13 with the 210 mm and 3 with the 90 mm.
He didn't take a single shot for the book with a lens between 90 mm and 210 mm.
>But isn't it funny how many use a 150 lens on their 4X5 ?
The original poster's question was what was the best focal length for landscape
photography. Can you point to something in print by a well-known landscape
photographer where he or she claims the 150 mm in 4x5 (or 50 mm in 35 mm) is
the 'best' landscape focal length? I doubt it. There's nothing wrong with
this or any other focal length, but it's not that popular for landscape
photography, sorry.
Bill
From: [email protected] (Bill Hilton)
Newsgroups: rec.photo.technique.nature
Date: 24 Dec 2002
Subject: Re: Landscape lenses
>From: "Dan Beaty" [email protected]
>Bill, you said that Jack Dykinga used the 180mm lens in the 4x5 format,
>which divided by 3.3 would give a 35mm equivalent of 54mm -- very close to
>the lens that "normal" lens focal length for 35mm.
Here's what Jack wrote about his 180 mm ... "My Nikon's 85 mm lens is now the
Schneider 180mm APO-Symmar". (pg 74, "Large Format Nature Photography"). So go
argue with him about which divisor to use, I guess :) You're basically right,
even at divide-by-3 the 180 is just a 60 mm equiv though. You'd think the 270
mm he also carries would have been a closer match.
150 mm in large format was the focal length given as 'normal' by the guy
suggesting that a 50 mm lens in 35 mm format was the most useful landscape
lens, not by me. I was just pointing out how the local hot shots like Dykinga
and Muench never or rarely use the 150 mm in their published work.
>In reading this thread and how the great landscape photographers favour very
>wide lenses, I have to wonder about the subject matter of their landscapes
>verses mine. Could the fact that here in Ohio we do not have as many grand,
>large mountains and canyons as in the West explain why I find myself using
>the normal lenses more often.
>
>Or perhaps I just need to try and move in closer more often for that
>stronger perspective?
Jack has an interesting comment on lens choice versus locale (pg 82, same book
quoted above). It's a bit long, but worth quoting in full.
quote
The vast open country of the American Southwest sometimes dictates my choice of
lens. I'm apt to use a wide-angle lens to show the foreground in a grand
landscape under a boundless sky. However, in discussing lens choices with
landscape photographers from forested regions, I've found that they favor a
normal-to-telephoto focal length. Quite the opposite from showing the entire
landscape, the longer focal length lenses allow them to isolate details or
sections of the scene, emphasizing the "Closed-in" feeling under the forest's
canopy. Either way, our vision seems to be shaped by the land.
end quote
So he would agree with you, that in Ohio you would likely choose different,
longer lenses that he would choose in the Southwest. But note that in the
Muench book I used for lens choice statistics in an earlier post that David
used the 210, 300 and 500 mm lenses in 54 of 116 images so the southwest guys
DO use the medium length and up tele's a good portion of the time.
Bill
From: Greg [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Bean Bags or window tripod
Date: Sun, 16 Feb 200
But pasta shells might get gooey when wet. For a lightweight beanbag
I like buckwheat shells, and you can buy pillows filled with these for
next to nothing on eBay. Another excellent beanbag can be the various
leather shooter's bags, often made of suede leather and commonly
filled with sand or shot (that can be easily changed for another
filling). These have a trough or "wings" that accomodate lenses well.
As for window tripods, I'd like to try an ErgoRest, they appear to be
well-designed and adaptable. I've got a Bogen #3292 window clamp
that's used with a #3413QR ball head that works well, but depends on
the rigidity of the car window itself. A better but more expensive
choice might be either the Ergorest ($125) mentioned or the Kirk WM-1
auto mount ($180), both of which transfer the camera weight to the
auto doorframe.
"Alan Justice" [email protected] wrote:
>The best material I've found is small pasta shells. About half the weight
>of rice.
Date: Sun, 12 Jan 2003
From: "mborn@k8xu" [email protected]
To: [email protected]
Subject: Re: [HUG] Hawaiin Travel Questions
Carry it on, the air lines allow two carry on bags. I take a 553 ELX,
500CM, SWC, 50, 80, 100 150 and 250 lenses and four backs in two camera
bags.They always x-ray them and they fit in the over head bins on the
planes.
I take just enough film for shooting on the way and load nothing in the
backs before X-ray. Take two rolls of 3200 ASA and a few rolls of your
favorite film for travel.
Go early and ask for hand inspection of the film. Usually, this will
trigger a personal inspection of your camera bags. But the 3200 justifies
the hand inspection. Have a good reason to have the 3200. I shoot star
tracks.
I Fed-EX or express mail the main bulk of film to my hotel three days
before I arrive. Its there when I get there. Keep the box and packing and
just mail it back to yourself when you leave the hotel. Every major hotel
has a business center that will take care of the shipping. Pre-print the
return Fed-X label before you leave.
If you leave during off hours have the bell desk handle the shipment. The
hotel will usually charge something for the shipment and a $5 spot to the
bellman insures it happens.
You should buy some insurance. Talk to your agent for an Inland Marine
rider.
Marvin
...
From: fritz olenberger [[email protected]]
Sent: Sat 3/8/2003
To: [email protected]; [email protected]
Subject: Re: [HUG] Landscape tips please
Hi Ian,
Here are my tips:
1. Avoid shooting mid-day. That's what all the tourists do. Shoot in the
early hours of the day during and after sunrise or the late hours of the
afternoon and sunset.
2. Seek out inclement weather. Dark, threatening clouds. Right before or
after a snowstorm or rainstorm.
3. I disagree with "use a wide angle lens." Often, yes, but some of my
best shots have been taken with the 180mm Sonnar.
4. Always use a sturdy tripod with a good head.
5. Always use pre-release (mirror lock-up) and a cable release.
6. Use a slow, high resolution, saturated transparency film such as Fuji
Velvia, Fuji Provia, or Kodak E100VS. Scan the film, adjust as necessary in
Photoshop, and print.
7. Use a polarizer when there is sun and if the angle is right. Try to
orient yourself so the scene is at right angles to the sun, so that the
effect of the polarizer is maximized, but don't "over-polarize." For black
and white photography, a red filter (or to a lesser extent, a yellow
filter) will darken a blue sky and make clouds stand out dramatically. A
polarizer also does this.
8. Use a warming filter (Wratten 81A,B, or C, or Hasselblad CR3) when
shooting in open shade to "warm up" a scene.
9. Generally, shoot a small f-stops for max DOF, e.g., f16, f22. This,
together with slow film and cloudy skies, will drive you to shutter speeds
of 1/30 sec and slower.
10. When using a wide-angle lens, try getting down low and including
something (rocks, flowers) into the foreground. Focus at the hyperfocal
distance and use a small aperture to get everything in focus.
11. When the sky is bright and the foreground is dark, consider using a
neutral-density graduated filter, one or two stops, to reduce the scene
contrast to what the film can handle. Alternatively, you can take two shots
of the same scene, using a tripod, at different exposures, scan both
transparencies, layer them in Photoshop, and erase what is improperly
exposed in the top layer to reveal the properly exposed version in the botto
m layer. Then merge layers.
12. Use a Hasselblad.
Oops, that was 12 tips. Sorry if I got carried away.
Hope this helps.
-Fritz Olenberger www.olenberger.com
----- Original Message -----
From: "ian.barnes" [email protected]
To: "Hasselblad@Kelvin. Net" [email protected]
Sent: Saturday, March 08, 2003
Subject: [HUG] Landscape tips please
> Hello all,
> I tried a few landscape shots on B+W the other day and was quite
> dissapointed with my work.
>
> Chatting to a photographer who does a lot, he advised a few guidelines such
> as use a wide angle lens, use a green or was it yellow filter, and shoot
> against the light, but have a cloud between the lens and the sun. Just a
> quick chat and general guidance.
>
> Would you guys like to come up with a 10+ top tips on landscape photography?
> Don't forget it need to cover B+W and colour .
>
> Ian
From: Tom Christiansen [[email protected]]
Sent: Sat 3/8/2003
To: Hasselblad@Kelvin. Net
Subject: Re: [HUG] Landscape tips please
Hi Ian,
>Would you guys like to come up with a 10+ top tips on landscape photography?
>Don't forget it need to cover B+W and colour .
Well... I don't know how much you already know about landscape photography,
so I'll assume that you know nothing. Here's my list (in no particular
order of importance):
1) Get up early! Quite a few of my best shots were done at sunrise.
2) During the summer, shoot early in the day or late in the day. This way
the sun will be lower in the sky and cast some longer shadows. This creates
a 3-D feel to the images. During the winter the sun is rather low in the
sky all day, and I find that I can shoot at noon if I want to.
3) Get to know and use the basic rules of composition; get close, rule of
thirds, leading lines, symmetry/balance, color schemes, etc.
4) Be different. Don't always take the shots everyone else's taking. If
everyone else is using a wide angle lens, see what a telephoto can do for
you. Try some selective focus at maximum aperture.
5) Keep the horizon straight and use tripod, cable release, and mirror lock-up.
6) Use a lens hood.
7) Don't be afraid to shoot in the rain.
8) Take night shots, cityscapes, star trails, and what not....
9) Get a good light meter and learn how to use it.
For b&w, a lot of photographers use a yellow/green filter to bring out more
contrast between the clouds and the sky. Some use yellow only, some use
green only. But I guess most start out with the yellow/green. Some use a
red filter to get a really dramatic sky.
Hope this helps.
Tom
From: Godfrey DiGiorgi [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: Question on tripod head & kit bag
Date: Mon, 07 Apr 2003
I bought a Domke Spider 11 Camera Backpack for this purpose carrying
Hasselblad gear (either a 903SWC or a 500CM with 80mm lens, plus second
back, meter, lens hood, cable release, ton of spare film and a Sony
F707 digital camera plus accessories ... also a packed lunch if I'm in
the field ... :-). It all fits easily, is comfortable to carry for long
periods of time, is not excessively bulky or heavy, and everything is
accessible in moments due to the excellent access afforded by the
zippered and customizable compartmentalization. They're about $103 at
B&H. I think it would fit your Fuji/Canon kit with room to spare.
The Spider 11 has the sling-type strap system, which I find easier to
manage getting on and off, and very comfortable. The Spider 10 is the
same bag with the more traditional backpack style harness. Domke makes
an accessory carrier that slings the tripod onto the bag securely yet
allows it to be removed and put in use very easily.
For a tripod head, I have used the Manfrotto 3265 Grip Action Ballhead
for many years. It has a quick release mount and supports up to 5.50
lb. I like it for its speed in the field, although it's not the
sturdiest head around and is not particularly great for doing portrait
orientation photographs particularly with a heavy camera or lens due to
the long lever arm it becomes when flipped 90 degrees ... It's best for
camera/lens assemblies which have their own rotating mount for portrait
orientation (or square format...). It works extremely well with the
very light Sony. It is a nice working head and pretty inexpensive,
about $80 or so.
For a more professional quality, sturdier and more precise head, I use
the FOBA Super MiniBall Plus. This is a very nicely made head with
separate ball tension, position lock, and base panning controls, is
very capable for up to 11-12 lb cameras, and is compact and
lightweight. It takes the Arca-Swiss type quick-release plates (I use
the ones made by Really Right Stuff for the Hassies, digicam and Canon
EOS SLR). It's not inexpensive but well worth the money .. I paid $260
for the head and about $40@ for the QR mount plates. A quality item, in
the same class as the more expensive Arca-Swiss Monoball B1 and Kirk
BH-3 ball heads.
Godfrey
The Bill Mattocks [email protected] wrote:
> ...So, my question - what kind of bag do you guys recommend for carrying
> the above-listed kit AND have it a bit more accessible? A backpack?
> Any advice would be most appreciated.
>
> Second question - in reference to the Manfrotto/Bogen 3001, what sort
> of tripod head would you recommend? I am trying to keep the weight
> down, bulk as well if possible. Price is also somewhat of a
> consideration. ...
From: "Jeremy" [email protected]
Newsgroups: alt.photography,rec.photo.technique.nature
Subject: Re: Beginning Landscape Photography
Date: Tue, 03 Jun 2003
>I am starting to get into amature outdoor photography and I would like to
>know what the group thinks would be a good book or web resource for covering
> >the basics. I have a decent beginners 35mm SLR (Pentax K1000), a couple of
> >basic lenses (50mm, 28-80 zoom, 80-300 zoom), and a tripod.
1: Use of tripod is a necessity. It will definitely improve sharpness of
your photos. Be sure that it is a sturdy one. Lightweight ones are not
nearly as effective.
2: Cable release. Use of cable release will minimize camera shake resulting
from your pushing on the shutter release button. Another technique that I
often use is to fire the shutter using the camera's self-timer--except that
your particular camera body does not have a self-timer.
3: Lens Hood. It will reduce flare, increase contrast by eliminating much
of the off-axis light entering your lens, and this will contribute to an
improvement in apparent sharpness in your photos.
4: Filters: I use UV filters on all my lenses, and I often use skylight
filters to minimize haze--especially on distant scenes. Use of filters
could result in somewhat lower resolution, but the that's a choice that
everyone must make for themselves. I use only Pentax-branded filters. Stay
away from the really cheap ones if you want to minimize the deterioration
effect on your photos. Heliopan and B+W are also excellent brands. Hoya
has several different grades of glass--you need to be sure not to buy their
low-end line.
5: Lens. Using wide angle lenses may result in those grand views being made
to appear very small on the final pic. I do not normally use anything
smaller than 35mm for landscapes. My favorite lens is the 50mm normal lens,
and I try to compose to get the most pleasing result from that particular
angle of view.
Your 50mm normal lens will give you better correction, better sharpness,
contrast and color saturation than will your zooms, because zoom lenses
require that lens designers make more compromises. Try taking a shot at
50mm with your 28-80mm zoom lens, then take the identical shot with your
50mm normal lens, and see the difference for yourself.
Don't dismiss your normal lens as being irrelevant. You may find that it
takes the best photos of any lens that you will ever own.
Landscape photography makes less in the way of demands on your equipment,
because the subject matter is static. Auto-focus, for example, is not
necessary to achieve excellent results. You don't need cameras with 1/4,000
shutter speed, either. This is one area where you can focus on honing your
technique, and not have to fret over whether your equipment is holding you
back. Your lens is the most important part of your kit.
rec.photo.technique.nature
From: [email protected] (Robertwgross)
Date: Mon Jun 16
Re: yosemite photography
Get the Yosemite photography book by Frye. It tells you where to be and when to
be there.
Of course, it explains it from the standpoint of the photographer. Don't follow
it if you want to avoid the crowds, as you will be getting there in the peak of
the tourist season.
It is much better to get off the beaten track. Hike back into the woods on some
nature trail. Get out at the crack of dawn to shoot wildlife photos.
---Bob Gross---
From: Acer Victoria
Subject: Re: photo equipment in desert
From: [email protected] (MDDESKEY)
Newsgroups: rec.photo.equipment.35mm
Subject: Re: photo equipment in desert
>If it encounters a lot of dust, a CLA at the end of the trip
>would be worthwhile too, no?
>
>/Acer "steppenwolf" Victoria
From: [email protected] (A. Server)
Newsgroups: rec.photo.equipment.35mm
Subject: Re: photo equipment in desert
From: Gary Richards [email protected]
Newsgroups: rec.photo.equipment.35mm
Subject: Re: photo equipment in desert
From: "Ken Wyatt" [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: I need a camera/lens for nature photog.
Ken Wyatt [email protected]
Woodland Park, CO http://www.wyattphoto.com
From: "Charles Pezeshki" [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: High altitude MF
----------
>I'll be taking a trip to the Colorado high country next week, and among other
>things will be hiking in the Snowmass/Maroon Wilderness. 10000 to 12500 feet
>elevation. I'll be taking my old Ricoh Diacord TLR. I don't have any bay1
>filters, and I wondered what the affect of UV radiation is gonna be?
Date: Mon, 21 Jun 1999
Newsgroups: rec.photo.equipment.misc
From: [email protected] (Andrew Koenig)
Subject: Re: Traveling with a lot of gear
> quite a few credit cards provide travel insurance if you purchase the
> plane/train/bus/boat/ship ticket with the card. normally, if you buy
> a round trip air ticket with the card, all intermediate travel on
> the trip is covered whether or not intermediate tickets for trains/buses
> etc. are purchased that way.
Andrew Koenig
[email protected]
http://www.research.att.com/info/ark
From: [email protected] (PBurian)
Newsgroups: rec.photo.technique.nature
Subject: Re: High Altitude Photo Tips/Equipment?
>You should have at least an 81B. I live at about 5000 feet and do much
>photography at 10-11000 feet. Even at these altitudes I have a warming
>filter on all the time.
From: Jed Wee [email protected]
Newsgroups: rec.photo.equipment.35mm
Subject: Re: SLR reliability for travel in hot, humid countries
> I think this is an over cautious advice. All sorts of auto everything
> cameras etc are sold and used here in Malaysia (I think it qualifies
> as a hot and humid tropical country) without any problems. The camera
> doesn't 'break down' because of the humidity.
>
> The main advice I would give is to take an airtight container (eg big
> size Tupperware) that is capable of storing all your major equipment
> along. This way you can seal your camera and lenses when you're not
> using them (eg overnight) so as to prevent fungus.
From: "Malcolm Daly" [email protected]
Newsgroups: rec.photo.equipment.35mm,rec.photo.technique.nature,rec.climbing
Subject: Re: High Altitude Photo Tips/Equipment?
Malcolm
> A few questions re: high altitude (20,000ft +)/climbing
> photography:
>
> 1) I'm upgrading to a new (Nikon) AF body. It's between
> the N60/N70. For my purposes, the only significant
> difference I can see between the two is the spot-meter
> on the N70. Is this a useful feature for mountaineering
> photos where you may have a subject framed by bright
> snow/ice/sky, or do the modern matrix or center-weighted
> metering systems do ok in this type of situation? Any
> other comments on these bodies for this application? I'm
> leaning towards the N60 because it's smaller and cheaper
> (it's about the same weight as the N70).
>
> 2) Besides an effective UV filter, any other filters I should
> consider to enhance the quality of my photos?
>
> 3) Any other tips for this type of environment (equipment,
> technique, etc)?
>
> Thanks!
> Darrin Sharp ([email protected])
Newsgroups: rec.photo.technique.nature
Subject: Re: Safari film Was: Beginner seeks first camera
recommendation
Date: 28 May 1999
PHOTO LIFE magazine
(See also www.photolife.com)
Newsgroups: rec.photo.technique.nature
Subject: Re: Photography in Africa?
Date: Fri, 28 May 1999
> So, I still have not made it to Africa. But if I go, tents and vehicles
> with refrigerators would be the way to do it.
From: [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: Jumping into Med Format...
> I have been thinking for a long time about purchasing and using a 6x6
> SLR. It would be my first. Anybody want to share thoughts on
> bringing along such a camera while traveling- touring-sightseeing? I'll
> be traveling with my wife and we will be on the go much, but not all, of
> the time. Thanks for any comments. Steve
From: "ULF SJ�GREN" [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: Jumping into Med Format...
Sweden
From: [email protected] (Leica82)
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: Jumping into Med Format...
Date: Thu, 20 Apr 2000
From: Bill Lawlor [email protected]
Subject: [Rollei] Re: Rollei vs Leica traveling
Date: Thu, 20 Apr 2000
From: [email protected]
Subject: Re: [Rollei] Re: Rollei vs Leica traveling
NEC America, Inc.
[1] Re: Taking photographs thru glass at the zoo.
From: glen [email protected]
Date: Fri May 12 2000
From: "jrf" [email protected]
[1] Re: Taking photographs thru glass at the zoo.
Date: Fri May 12 2000
>Yes have your flash on a remote cord ...
From: Brad Mitchell [email protected]
[1] Re: Taking photographs thru glass at the zoo.
Date: Fri May 12 2000
[email protected]
http://home1.gte.net/bradjm/Photo.html
Newsgroups: rec.photo.equipment.medium-format,rec.photo.darkroom
Subject: MF probs and pleasures in China (PRC)
Date: Thu, 04 May 2000
Newsgroups: rec.photo.equipment.medium-format,rec.photo.darkroom
Subject: Re: MF probs and pleasures in China (PRC)
Date: Thu, 04 May 2000
Edward Craft
Date: Thu, 25 May 2000
Newsgroups: rec.photo.technique.nature
Subject: Re: More Kenya Safari Equipment Questions
Newsgroups: rec.photo.equipment.medium-format
Date: Mon, 26 Jun 2000
Subject: Re: 35mm vs. 645 when travelling on vacation
Newsgroups: rec.photo.technique.nature
Date: Mon, 26 Jun 2000
Subject: Re: High Altitude Question
>I am going hiking in India this fall, near Darjeeling. The route will go
>to 12,000 feet and will include views of Everest and Makulu. As the
>location is remote, I bought a Nikon FM2n, which is less dependant on
>batteries than other modern cameras, and a 50 mm lens, as I do not like
>slow, dark consumer zooms. What filters do I need at this altitude to
>take good photos? I will be using both Kodak print and slide film.
>Also, I want to keep equipement to a miminum, but is there any other
>'must have' things to take?-
>
>John
http://www.RockyMountainNP.Com/
Date: Sat, 24 Jun 2000
Newsgroups: rec.photo.equipment.medium-format
Subject: SV: 35mm vs. 645 when travelling on vacation
Sweden
From: [email protected] (PBurian)
Newsgroups: rec.photo.technique.nature
Subject: Re: Any Travel guides just for photographers?
From Leica (Topica) Mailing List:
Date: Thu, 13 Jul 2000
From: apbbeijing [email protected]
Subject: Re: Trip to China
> Does anyone have experience in China. We are going for 18 days in
> October Particularly and wondering what our ability to wander around
> will be. Im planning on taking an M6 with tri-elmar and an M2 with summ
> 90 and an 18mm voightlander. Any advice about film, different gear, bag,
> security, airport x-ray, etc. would be appreciated
Adrian Bradshaw
Corporate and Editorial Photography
Beijing, China
e-mail [email protected]
Date: Sat, 22 Jul 2000
From: Bob Shell [email protected]
Subject: Re: [CONTAX] Sandproof or not ?
From: "Kerry L. Thalmann" [email protected]
Newsgroups: rec.photo.technique.nature
Date: Wed, 31 May 2000
Subject: Re: Pack for LF photographer?
> It was suggested that I post this here instead of rec.backcountry,
> so here is something I posted a few days ago there.
> I'm going to be doing some 2 and 3 day trips this summer and am
> looking for a pack suggestion (how many times have you heard
> that). If it were just normal things I would go to dejanews
> and poke around the net, however, I have some odd requirements.
> I'm going to be carrying my 4x5 view camera (a Super Speed Graphic)
> and a gitzo 1201 tripod along with film holders, a light meter,
> etc. All told I'm expecting to be carrying 10-12 pounds of camera
> gear.
> I am looking for something that I can get at the camera gear fairly
> easily. While my summer intention is only 2 or 3 day trips there
> has been discussion of ~week trips so it needs to be large enough
> to cary the gear for that. Padding for the camera gear is not
> really an issue, a WWII vintage press camera is related to a
> tank and I will wrap the lenses in the focusing cloth.
--
Kerry L. Thalmann Large Format Images of Nature
A Few of My Images Online at: http://www.thalmann.com/
Newsgroups: rec.photo.technique.nature
Date: 22 Jul 2000
Subject: Re: Trip to Grand Canyon
> I will be there towards end of august and
>intend to do a rim-to-rim trek.
>Since there is nothing fast moving out there, I assume a Kodak Gold 200
>film would be fine.
>I have a wide angle lens ( 28 mm) and a zoom lens that
>ranges from 75 mm to 200 mm. If I am not wrong, it would be a good idea to
>try to capture the landscapes using the wideangle and closeups of the peaks
>with the zoom.
From: Gary Richards [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: equipment for the Grand Canyon
> I am planning on backpacking in the grand canyon and was wondering what
> lenses to take. I am trying to watch weight, so I cant just take everything
> I have. I have available to me a 28mm 2.8, 50mm 1.4, and 75 to 150 4.0. I
> cant take them all and was wondering what you all suggest. If you could
> suggest two and also suggest which if I could only take one lens. I use an
> Olympus Om-1 all manual camera and am thinking of taking a mini folding
> tripod or maybe just a monopod, I am not sure yet. Also which film do you
> suggest. Thanks for any and all input.
> Viv
From Hasselblad Mailing List:
Date: Thu, 24 Aug 2000
From: [email protected]
Subject: Re: SV: Good travel bag
From: "Rick Haskins" [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: Desert photography TIPS please!
From: David Strip [email protected]
Newsgroups: rec.photo.equipment.medium-format
Subject: Re: Desert photography TIPS please!
[email protected]
From: Gil Yeager [email protected]
To: [email protected]
Subject: Web Page & Galapagos Islands
Date: Thu, 16 Nov 2000
From: Jim Brick [email protected]
>Mark,
>
>Based on my experience I respectfully disagree as to the invisibility of the
>tripod. For my (prospective) subjects the tripod has screamed CAMERA HERE --
>BEWARE.
>
>But perhaps my experience is unique among more experienced shooters.
>
>-- Paul
From: Kenneth Wajda [email protected]
Newsgroups:
alt.zines,alt.ezines,rec.photo.technique.nature,rec.photo.technique.misc,rec.pho
to.misc,rec.travel.marketplace,alt.travel.marketplace
Subject: New TRAVEL PHOTO EZINE and Photo Board
Date: Thu, 16 Nov 2000
From: Henry Posner/B&H Photo-Video [email protected]
Subject: [NIKON] Airline CARRY-ON Specs List
American Airlines---45" total of length + girth max., 2 bags, no weight restriction
America West---23x13x9" or 21x16x8" max., 2 bags, no weight restriction
Continental---45" total of length + girth max., 1 bag, 40 lbs. max.
Delta---22x14x9" max., 3 bags, 40 lbs. max.
Northwest---22x14x9" max., 3 bags, 40 lbs. max.
Southwest---24x16x10" max., 2 bags, no weight restriction
TWA---24x16x10" max., 2 bags, no weight restriction
United---45" total of length + girth max., 2 bags, 50 lbs. max.
US Air---24x16x10" max., 3 bags, 40 lbs. max.
- - --
regards,
Henry Posner
Director of Sales and Training
B&H Photo-Video, and Pro-Audio Inc.
http://www.bhphotovideo.com
Date: Wed, 15 Nov 2000
From: Peter Klosky [email protected]
Subject: Re: Airline CARRY-ON Specs List
American Airlines---45" total of length + girth max., 2 bags, no weight restriction
America West---23x13x9" or 21x16x8" max., 2 bags, no weight restriction
Continental---45" total of length + girth max., 1 bag, 40 lbs. max.
Delta---22x14x9" max., 3 bags, 40 lbs. max.
Northwest---22x14x9" max., 3 bags, 40 lbs. max.
Southwest---24x16x10" max., 2 bags, no weight restriction
TWA---24x16x10" max., 2 bags, no weight restriction
United---45" total of length + girth max., 2 bags, 50 lbs. max.
US Air---24x16x10" max., 3 bags, 40 lbs. max.
Date: Wed, 15 Nov 2000
From: [email protected]
Subject: Re: Airline CARRY-ON Specs List
From: [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: india trip planned
>>residents have no pride in their country & no desire to
>>keep it clean.
North
1. Kashmir (not considered very safe)
2. Ladakh
3. New Delhi, Agra and Rajasthan for the monuments.
4. Jaisalmer - Thar desert, you could go on a camel safari.
East
1. Calcutta
2. Sikkim (for a great view of the Himalayas)
3. Kaziranga National Park
4. Temples in Orissa
West
1. Bombay
2. Rann of Kutch
3. Ajanta and Ellora caves
4. Khajuraho
South
1. Kerala - Periyar Elephant Sanctuary
2. Coorg
3. Madurai Meenakshi Temple
4. Belur/Halebid
> I travel to India regularly on business. I eat carefully, only in the
> best hotels. At least every second trip I get sick after returning to
> Australia. I believe that it is in the air - India can be a filthy
> place, and the residents have no pride in their country & no desire to
> keep it clean.
>
> I do not believe that you need worry about terrorism, but be street wise
> as usual. Pickpockets are a plenty.
>
> If in Mumbai (Bombay) go on to the beach adjacent to the Holiday Inn
> (after pushing through the pigs wallowing in the garbage tip nearby).
> Great photography every night before & just after sunset of the crowds.
>
> Drink only bottled water, enure that you only break the bottle seal.
>
> Make sure you have Hep A & Hep C shots before leaving home - imperative
> IMHO.
>
> Otherwise India is a wash with fantastic photo opportunities, just hold
> on to your gear carefully if surrounded by beggars, which you will be
> sooner or latter.
>
> Have Fun!
> --
> Cheers,
> John Phillips
> Sydney, Australia
Date: Wed, 07 Feb 2001
From: Henry Posner/B&H Photo-Video [email protected]
Subject: [NIKON] Re: OT: Yosemite
>I will be in Yosemite in early March for 2 days. This being my first visit,
>what trails/sites will offer the best access/photo ops for this time of
>year? Book recommendations are also welcome.
>
>I have 2 kids (both under 3) and a wife in tow, so pretend I am 150 pounds
>overweight when giving advice.
- --
regards,
Henry Posner
Director of Sales and Training
B&H Photo-Video, and Pro-Audio Inc.
http://www.bhphotovideo.com
Date: Wed, 7 Feb 2001
From: "Paul McKenney" [email protected]
Subject: [NIKON] OT: YOSEMITE - Views of an Annual March Visitor
Date: Sun, 11 Feb 2001
From: Carl Socolow [email protected]
Subject: Re: Travelblad: 903 SWC?
Newsgroups: rec.photo.equipment.35mm
Date: 25 Feb 2001
Subject: Re: Grand Canyon trip
>From: "routh" [email protected]
>
>Has any list member visited the Grand Canyon in Arizona on the first week of
>April?
>How cold/warm is it at that time of the year?
>How much time will I need to see it properly and photograph it?
>And what is the best way to photograph the canyon? My photographs
> didn't turn out too well the last time.
>I'm hoping to stay at the Frey Morcos Hotel at William's Depot.
Newsgroups:
rec.photo.equipment.35mm,rec.photo.technique.nature,rec.travel.africa,uk.rec.bir
dwatching
Date: Wed, 28 Feb 2001
Subject: Re: Which lens?
Website: http://www.argonet.co.uk/users/lizleyden
- Safari, Seychelles & image manipulation
India has started to appear . . .
Newsgroups:
rec.photo.equipment.35mm,rec.photo.technique.nature,rec.travel.africa,uk.rec.bir
dwatching
Date: Wed, 28 Feb 2001
Subject: Re: Which lens?
Date: Mon, 16 Apr 2001
From: "Dante A. Stella" [email protected]
Subject: Too much: was Re: [Leica] europe on 1 roll a day
> frank's thinking of going to europe and only bringing a brick of film
...
20 rolls of 36 is 720 exposures
> 40 rolls of film doesn't take up that much space -- take them out of the
> plastic cannisters and the cardboard boxes first. you'll be fine.
Date: Mon, 16 Apr 2001
From: "Ted Grant" [email protected]
Subject: Re: Too much: was Re: [Leica] europe on 1 roll a day
> o Work to take the picture that no one else has taken (or could take).
> Don't make a photo that anyone can duplicate (or better) by buying a
> Kodachrome postcard from a street vendor.<<<<<
www.islandnet.com/~tedgrant
From: Liz [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Africa for the first time
> I'm heading off to Southern Africa for a month, and having nevr been
> there,
> I'm wondering if anyone has any ideas for what film to bring for wildlife
> shots. I'll certainly bring a few dozen rolls of 100, but I'm not sure how
> much fast film to tote along, nor how fast. I'm thinking 10 400s and a few
> 800s, but having never been there, I'm not sure what times of day I'll be
> shooting, though I presume very early and very late.
--
Website: http://www.argonet.co.uk/users/lizleyden
- Safaris (Kenya & Tanzania), Seychelles & India (under construction)
From: "rob preston" [email protected]
Newsgroups: rec.photo.technique.nature
Subject: Re: Africa for the first time
www.rjpreston.freeserve.co.uk
From: "GT" [email protected]>
Newsgroups: rec.photo.technique.nature
Subject: Wilderness photography forum
Date: Wed, 17 Oct 2001
Folks,
We are in the process of starting a wilderness photography forum. This forum
is not meant to replace or compete with rec.photo.technique.nature but
rather complement it.
Our goal is to foster discussion among environmentally-conscious
photographers with a passion for the outdoors (hikers, backpackers, climbers
etc.) in an email forum that is less prone to spam and static.
If you feel this may be of interest to you, please take a moment to check
the URL below and read our welcome message.
Note this is a brand new forum and we have just started building our
subscriber list so it may take a couple of weeks for traffic to build up.
Your participation will be very much appreciated.
Wilderness Photography forum is hosted at:
http://groups.yahoo.com/group/wildphoto
If you are not already a member of Yahoo Groups, you will need to sign up in
order to participate.
Thank you,
Michael and Guy
Date: Sat, 12 Jan 2002
To: [email protected], [email protected]
From: Jim Brick [email protected]>
Subject: Re: [HUG] Anticipating the sun's location for a 6x6 shoot
I have one. Marvelous instrument. With it, a map, and a parallel ruler, you
can predict exactly when and where the sun will rise. I used it to predict
exactly when the sun would rise directly over the TransAmerica building,
with the Golden Gate Bridge in the foreground, while I photographed from
the Marin headlands. It is that precise. Called a Sundicator. From Thomas
Spencer Enterprises in Santa Barbara CA. But alas, I believe Tom is no
longer in business.
Jim
[email protected] wrote:
>Fellow RUGgers, HUGgers:
>
>In a magazine I saw an outfit selling dials which would indicate the location
>of the sun in the sky at various latitudes at various times and seasons. I
>just don't remember where I saw their ad.
>
>Of course, they may have gone digital (or someone else has) and that tool is
>no longer available.
>
>Got a clue, anyone?
>
>Vincent L. Gookin
>[email protected]
From: "Jim Wrobleski" [email protected]>
To: [email protected]>
Subject: Re: [HUG] Anticipating the sun's location for a 6x6 shoot
Date: Sat, 12 Jan 2002
There is always the possibility of downloading or buying astronomical
software. www.cnet.com has several shareware applications. I use "the Sky"
by Softwar Bisque to do these things. I also use my GPS. Its a Garmin GPS 12
that predicts sunrise and set, etc. Then you can use a compass to set up the
subject at the angle you want the sunlight to fall, or whatever. Just a
thought.
Jim
----- Original Message -----
From: Robert Monaghan [email protected]>
To: [email protected]>
Sent: Saturday, January 12, 2002
Subject: Re: [HUG] Anticipating the sun's location for a 6x6 shoot
> There is a section with a series of graphics and instructions in the
> appendix in a new book on architectural photography that lets you
> graphically determine the angle of the sun at any latitude and date/time:
>
> Professional architectural photography / Michael G. Harris.
> (he also wrote one for focal press on photographing interiors, very good)
>
> it is about 3 or 4 pages with charts by latitude and time of year etc.
> This guy is from the U.K., he also references a source, but I don't
> recall if it is the same one Mr. Brick referenced, in which this was
> previously published...
>
> I also vaguely recall a similar article in Modern Photography many years
> ago on predicting the sun's location and angle at different dates and times.
>
> hth bobm
>
Date: Sun, 13 Jan 2002
Subject: Re: [HUG] Anticipating the sun's location for a 6x6 shoot
From: Tim Franklin [email protected]>
To: [email protected]>
Jim Brick at [email protected] wrote:
> I have one. Marvelous instrument. With it, a map, and a parallel ruler, you
> can predict exactly when and where the sun will rise. I used it to predict
> exactly when the sun would rise directly over the TransAmerica building,
> with the Golden Gate Bridge in the foreground, while I photographed from
> the Marin headlands. It is that precise. Called a Sundicator. From Thomas
> Spencer Enterprises in Santa Barbara CA. But alas, I believe Tom is no
> longer in business.
>
> Jim
>
> [email protected] wrote:
>> Fellow RUGgers, HUGgers:
>>
>> In a magazine I saw an outfit selling dials which would indicate the location
>> of the sun in the sky at various latitudes at various times and seasons. I
>> just don't remember where I saw their ad.
>>
>> Of course, they may have gone digital (or someone else has) and that tool is
>> no longer available.
>>
>> Got a clue, anyone?
>>
>> Vincent L. Gookin
>> [email protected]
The UK mag Practical Photography offers a sun position compass on its shop
pages. Appears to be made by a company called Logistic Locations (Tel: +44
(0)181 575 6601).
Alternatively, the PP Photoshop details are:
Tel (24 hrs): +44 (0)1733 840111
Fax: 01733 840465
e-mail: [email protected]
Tim
From: "Rod Leavitt" [email protected]>
To: [email protected]>
Subject: RE: [HUG] Anticipating the sun's location for a 6x6 shoot
Date: Sun, 13 Jan 2002
Perhaps this will help:
http://aa.usno.navy.mil/data/docs/RS_OneDay.html
Rod
-----Original Message-----
From: Tim Franklin [mailto:[email protected]]
Sent: Sunday, January 13, 2002 2:31 AM
To: [email protected]
Subject: Re: [HUG] Anticipating the sun's location for a 6x6 shoot
on 13/1/02 1:21 am, Jim Brick at [email protected] wrote:
> I have one. Marvelous instrument. With it, a map, and a parallel ruler,
you
> can predict exactly when and where the sun will rise. I used it to predict
> exactly when the sun would rise directly over the TransAmerica building,
> with the Golden Gate Bridge in the foreground, while I photographed from
> the Marin headlands. It is that precise. Called a Sundicator. From Thomas
> Spencer Enterprises in Santa Barbara CA. But alas, I believe Tom is no
> longer in business.
>
> Jim
>
...
The UK mag Practical Photography offers a sun position compass on its shop
pages. Appears to be made by a company called Logistic Locations (Tel: +44
(0)181 575 6601).
Alternatively, the PP Photoshop details are:
Tel (24 hrs): +44 (0)1733 840111
Fax: 01733 840465
e-mail: [email protected]
Tim
Date: Sun, 13 Jan 2002
To: [email protected], [email protected]>
From: Jim Brick [email protected]>
Subject: RE: [HUG] Anticipating the sun's location for a 6x6 shoot
The nice thing about my Sundicator is that it is small, flat, and I carry
it, a "Multidraft" parallel ruler (Design Instrument Manufacturing Co.),
and a very small compass in one of the pockets in my camera pack. This and
a map of where you are going to be photographing are all you need. No
computer involved. The Sundicator gives you perfect alignment of exactly
where the sun will rise or set, based upon where you are standing at the
moment. And before you get there so you will know exactly where to be, and
when to be there, for the alignment that you want.
Last year I photographed the falls at Julia Pfiffer Burns State Park. I
wanted the sun to be setting and pointing right into the falls (evening
warm light) so I mapped it out on a CA USGS costal map using the Sundicator
system and it told me exactly where to be, and what day and time to be there.
Jim
Rod Leavitt wrote:
>Perhaps this will help:
>
>
>http://aa.usno.navy.mil/data/docs/RS_OneDay.html
>
>
>Rod
From: "Morgan, Andrew" [email protected]>
To: "'[email protected]'" [email protected]>
Subject: RE: [HUG] Anticipating the sun's location for a 6x6 shoot
Date: Mon, 14 Jan 2002
A link to somewhere that sell's the sun position compass online
http://www.panastore.com/panastore/products/product_detail.asp?Inventory=231
Andrew
Date: Mon, 14 Jan 2002
From: Niels Vandrup [email protected]>
To: [email protected]
Subject: Re: [Rollei] Anticipating the sun's location for a 6x6 shoot
Vincent,
The British "Practical Photography" magazine sells a sun position compass. The
order number is SP1 and the price =A3 19.95 order hotline 01733 324324 or Fax
01733 324700. This information is from the january 2001 issue. I haven't read it
since, so I don't know if they are still selling it.
Niels
...
From: [email protected]
Newsgroups: rec.photo.equipment.large-format
Subject: Re: Sun position locator
Date: Mon, 4 Feb 2002
> Sorry to piggy-back a question on top of yours, but what is the purpose
> of such a device for photography? I'm curious.
In my Case I use it for planning architectural photography either while on
site or, more often, at a map in the office. No point in visiting a site
to take photographs of a building if the face you need is shaded.
Especially if it has high building adjacent to it.
I guess landscape photographers would use them for planning trips, the sun
position changes throughout the year so a mountain view may be lit in
August but not in December.
Mark