WINTER CAMERA EQUIPMENT

As winter shooting is upon us I thought I’d make this post public as a guide to equipment I suggest for some of my different photo tours and lessons. Here is a brief list of winter camera gear and clothing suggestions and other items you should consider bringing on any of the colder climate tours or workshops.

PLEASE keep in mind that this is a generic gear list which pertains to a few different photography tours including Yellowstone and Iceland. Not all equipment on the list might be necessary or helpful for all tours.

Must Have…should have

• DSLR or Mirrorless camera (1 back-up body is highly recommended)
• Minimum 2 spare batteries and wall charger. (TIP) Mirrorless cameras chew up batteries more quickly in cold especially.
• Your essential 1st lens: Zoom lens, for example wide angle 16-35 mm. On aurora workshops I suggest a fast prime wide angle lenses, such as 24mm f2.8
• 2nd lens for example zoom lens 24-70mm.
• My favorite non-prime for Yellowstone tours is the Nikkor 80-400mm.
• Additional lens, especially for trips with wildlife. A telephoto with at least a 400mm range. For the Yellowstone tour a 400, 600 or even 800mm will be great. Make sure your tripod will support the weight.
• (TIP) If you are going to rent a long lens and it has a foot on it to mount to your tripod be sure you have a mounting plate for it as well to be able to attach it to your ballhead.
• Shutter release cable (or remote). If purchasing a remote get one that uses radio waves to trigger.
• Sturdy tripod and ballhead. Really Right Stuff makes great gear. Consider the BH40 or BH55 ballheads. I know it’s extra weight to pack but don’t skimp when purchasing a good tripod and ball head.
• Polarizing filter
• Microfiber lens cloth. I actually cut up small pieces of old cotton flannel shirts to clean my lens of water drops or fog.
• Mininum of three 32 GB of memory cards or larger. More if you are not going to downloaded the images each night.
• Medium/large size camera bag which holds all your camera gear during the tour. It helps to have one large bag for all your gear and a smaller one which might hold a camera with longer telephoto lens and a wide angle lens.

Nice to have:

• Laptop to download images for review and/or processing during down time
• 1 external hard-drive, I carry 2
• USB flash drive (Thumb drive) Nice to have if you want to quickly share photos with someone else in the tour.
• External back-up power source for phone.
• Back up camera body
• Filter holder with adapter rings which fits your lens (82mm and 77mm very common)
• Hoodman Loupe (Primarily for winter tours and or night photography)
• Blower bulb to clear snow of camera and or lens. A small paint brush is great too for clearing snow off.
• Quick-dry towel like those used for backpacking.
• Rain cover for camera & lens. Keep it simple and grab a heavy weight trash bag.
• User manual for your camera. Download a .pdf of it and put it on your laptop/tablet/phone.
• Lens hoods in case it is snowing to help keep the snow off your glass.

GENERAL TRIP GEAR 

Think layers! and avoid cotton.

• Wool base layer, top and bottom (merino wool does not smell unlike synthetic fibers after several days’ use).
• Polar fleece jacket
• Wear bright colors if you want to show up better in photos taken of you. :-)
• Heavy down coat depending on the tour and how quickly you get cold.
• Water-resistant shell jacket/parka…with a hood is best
• Waterproof shell pants, like gore-tex
• Waterproof trail shoes or hiking shoes. Taller snow boots for sure on Yellowstone tour.
• Headlight or flashlight. A headlamp with an optional red light is recommended to help with nighttime vision. Make SURE they are easy to operate with gloves on!
• Winter boots
• Hiking boots
• Wool socks & reg socks
• Warm pair of gloves or mittens
• Yaktrax for your boots for extra grip while walking around the geyser basins.
• Thin, tight weave, glove liners. I try to purchase most outer clothing that is made with wind resistant materials. There are nice possibilities in biking gear. This link may work to give you ideas.
• Warm hat, wind and water resistant perhaps with ear flaps (Dog optional) 
• Sunglasses, Sunscreen, lip balm (Chapstick, etc.)
• Water bottle. It is very dry in Yellowstone and the high altitude makes having plenty of fluids important.
• Hand and toe warmers.
• !!!Trip insurance!!!

Must Have

Your happy mood and passion for photography!

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Modified LowePro Whistler 450 AW

This is not a detailed description of this pack or a review but just notes on how I made some changes to it to better fit my needs. For the past 12+ years I had one camera backpack which has been used and abused around the world so last year I decided to retire it. The search for a replacement was much more difficult than I had expected. This led to the purchase of four new bags of different sizes and most were for a more specific purpose such as a sling bag for light and quick hikes up to other full size packs much like I’d been using.

I originally decided that the LowePro Whistler 450 AW was too small to accommodate everything I’d typically carry in the field. I took my full kit into the local camera shop, Pictureline in Salt Lake City, and even though I loved the overall design of the bag, because of the rigged sides of the bag it would not expand wide enough to fit my gear. Later, while leading a photo tour in Yellowstone last winter, a friend showed up with this bag and showed me how she’d modified it to work. This involved a razor, duct tap and the nerve to slice into a brand new $400 pack. What follows is a description of what I did to make this great pack work. Please keep in mind I am a nature photographer and not an adventure sports shooter for which is basically what this bag was designed. Read more here…

Image 1
Removing the rigged panels from the sides and top of the insert.
My packed bag. As you can see I have two rows with lenses, 2 full-frame DSLR’s (Nikon D810’s) filters releases, etc. This is just the main compartment. I’m only going to show and modify this large interior section.

Image 2
I removed the inside storage unit which is easy enough to do by simply sliding the loops through the toggle hook seen in photo #3.

Image 3
There are four of these toggles inside the pack. The first time I pulled out the inside compartment it was very tight getting these toggles through the loops so I used some needle nose pliers.
Image 4
After removing the inside compartment I turned it over and with a razor I made slits along the seams on both sides as well as the top so I could remove the ridged panels. I left the bottom one in place. These panels have an easy to detach adhesive on them so they will not simply pull out without a little coaxing.

Image 5
Removing the rigged panels from the sides and top of the insert.

Image 6
After removing the rigged panels it’s simply a matter of taking the duct tape and closing up the slits you made. Mine appears a bit messy as I’ve taken it apart a couple times for photo purposes. Keep in mind that all of this will be hidden and protected once you place the insert back into the pack.

Image 7
I noticed a hard ridge at the bottom of the pack which cut into my back. To help make it less noticeable I inserted a piece of dense rubber padding as seen here.

Image 8
There are many ways to customize this pack with all of the available loops, straps and compartments. I removed most of the straps that came with the pack but then added two pieces of webbing seen crisscrossing here where I could quickly tuck away a jacket or strap down other items. I also use this webbing as a tie-down for my tripod when in windy conditions.

The whole idea of what I did and why simply has to do with making the pack slightly more expandable, allowing me to have two rows of lenses as well as the ability to place two bodies in the middle. Last of all. I’m not a large person and without a jacket or coat on I find the waist belt just a little too long when cinched in all the way which is what I require. I have a 33″ waist and with the hip belt tightened all the way, buckle to buckle, it’s just a bit too loose. Guess I’ll just have to have another slice of pizza…or two.

Hope this is of interest. While writing this I found that B&H Photo Video had this pack listed at $252.44.

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Antarctica Camera Gear List …or the Arctic

I’ve been asked a number of times what I typically pack when it comes to camera gear for my Antarctica or the Arctic photography trips. I’ve been South over a dozen times now, the same heading North, and that list of equipment has gone from just shy of the kitchen sink too including the sink, or so it seemed. I’ve really reduced the gear list in recent years. It’s tempting to bring everything you have, especially if this is your first voyage South. Doing so can sometimes get in the way of paying attention to what you’re doing or trying to capture. Keep it simple. I’ve created this post with suggestions on Antarctica camera gear list as a guide where considering what to pack for your voyage. Much of the same goes for travel to the Arctic while on a ship.

Unless you’re able to get on a voyage to the Emperor Penguins, usually around Snow Hill Island, I would suggest leaving the “big guns” at home. I’m referring to that fixed 4oo, 500 or 600mm. When I took that voyage to Snow Hill Island I carried more gear than usual including the Nikkor 200-400mm. The 400mm reach does come in handy but now I prefer the Nikkor 80-400mm as it’s much smaller/lighter and still gives me the results I need. The zoom range is also much more inline with the variety of subjects and distances you’re likely to encounter. Below is a list of some other camera equipment I currently pack.

I always carry at least 2 camera bodies. Currently a Nikon D810 and Nikon D800. Since both bodies use the same batteries this helps by eliminating the need for another charger and more batteries. If you’re really into photographing flying birds, which you have plenty of sea-time in which to do so, a body with a higher fps might be considered. Something like the Nikon D4s or D5.  

I pack a Nikkor 16-35mm, 24-70mm, 28-300mm and a 80-400mm all Nikkor brand. There’s a lot of overlap there but one focal range might be preferred while on shore or on the ship compared to being in the Zodiac. Also, it’s nice to have the back-up. Most of the time I’ve got the 28-300mm on the camera when in the Zodiac unless there are whales around. In that situation I’m more likely to put on the longer lens to start out. I might end up with the 16-35mm when the whales are right under the Zodiac and then on occasion be wishing I had something wider! Having the flexibility to zoom at different focal lengths when in the Zodiac is very important. Trying to switch lens, or even cameras, can mean the difference in your ability to capture that spontaneous moment which happens often. ALWAYS go out prepared for that unexpected moment. This goes for the camera gear you select but  also pertains to the camera settings and how you have your kit packed.

I take a mid-size tripod with an easy to use ballhead usually a Gitzo Mountaineer Carbon Fiber tripod and a Really Right Stuff BH55 head. Big knobs and buttons are nice when your hands are cold and wet so keep that in mind when making any purchases. I also bring along a monopod with an Acratech GV2 ballhead. Occasionally I shoot video with either a waterproof Lumix or GoPro.  I bring along a Joby GoridllaPod in case I want to strap a camera outside on a rail when the ship is blasting through big waves or I just to set it on the ground next to the penguins. Have fun and try some time-lapse shooting around the penguin rookeries or “penguin highways”. You’ll see what I mean.

It’s important to keep your hands free while going down or coming up the gangway so make sure you have a good watertight backpack and or a dry bag with shoulder straps.There’s a good chance you’ll get wet while in the Zodiacs so a dry bag might be considered. If the driver tells you to put your gear away for a bumpy wet ride…trust them.

I have a LowePro AWII PhotoTrekker camera pack that I’ve had for 14 years and it’s been completely soaked a number of times, but not the gear. It does have a rain shield to pull out and so I’ve not bothered with a dry bag. I recently updated that bag to a LowePro Whistler AW450, which I’ve modified a bit with a razor blade and duct tape. :-)  Should you find yourself, and your pack, getting drenched try to place it on the top of your boots so it’s not sitting in the water on the bottom of the Zodiac. This also helps to cushion the blow as you bounce your way back to the ship.

While onshore the camera gear selected may be different than what you use on the water. This is when the tripod is mostly likely used as well as at times when on the ship, when it’s not in motion.

I also grab a towel out of the cabin and carry small pieces of cotton cloth, like from an old flannel shirt, to clean my lens. Micro fiber stuff is useless when water drops, especially saltwater, gets on your lens. A remote release will come in handy and I suggest a wireless trigger, one where you don’t have to be in front of the camera to activate it.

I do bring a laptop, external drives and plug adapters, including a USB hub,  as well as any cables and cords I need. Power outlets can be sparse on the ship so consider packing a small power strip with a USB outlet. Not forget to find out what type of outlets are used on the ship and bring the appropriate adapters, maybe a few of them. A thumb drive can come in handy should you care to share photos you’ve captured of other passengers or to copy ones they got of you in action!

Make sure any of your software is updated, especially if you’ve just purchased a new camera. It’s not a bad idea to bring along a digital version of your cameras manual too. Odds and ends include UV and polarizing filters and sometimes a variable ND filter. Pack a small tool kit with the needed allen wrenches, screw drivers, Leatherman and blower bulb to start with. Don’t forget to charge up the batteries before you set out and pack extra memory cards.

Last suggestion regarding the Antarctica camera gear list. Find a few programs for recovering images off corrupt memory cards. Sometimes one will come with new cards but you can find free ones online. I have four different ones as a rules. Sometimes you won’t recover anything with one program where another works. If you don’t use it I can almost guarantee someone else on board will end up with a card gone bad. Recover their files and you’ll be a hero!

In an earlier blog post I went over a little of this information but also included more about clothing and travel plans in general. Here’s a link to that post.

If you have any questions fire away! Got a comment, let me and the other readers know, especially if you have your own packing tips to share.

ps…Buy trip insurance!

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Photographing Penguins

by David C. Schultz…”Emperor of all Penguin Photographers” The Sun

It’s not that’s it’s difficult to find penguins to photograph but getting to them is usually a whole different story. How difficult or long of a journey really depends on which species; there are 17, that you’re interested in capturing. My experience photographing them over many years has been limited to those found in the far southern hemisphere in Antarctica and the sub-Antarctica islands such as South Georgia Island. Like I said, getting there is another story!

As with much of what goes into capturing good images you have to know a bit about your subject, in this case things like, which species, do you want to see chicks, and what kind of terrain they like on shore. My trips South have always been ship based. We move around to different locations, usually doing two shore landings or perhaps a Zodiac cruise each day. Zodiacs, larger rubber inflatables, are used to get from ship to shore most of the time but on certain trips helicopters are also used. That’s the usually the case when trying to reach Emperor Penguins.

I’ve recently returned from my fourteenth voyage to Antarctica which is a fascinating place to visit even without the penguins being present. I’ve found that what typically comes to mind when people think of penguins, besides “Happy Feet” , is the Emperor Penguin, the largest and the most difficult to reach. It’s also one of the two truly Antarctic species along with the Adelie.
Reaching the Emperor Penguins takes an icebreaker and usually a helicopter since they’re going to be found on the sea-ice and in waters that are much more difficult to access. Once the icebreaker has “parked” in the fast-ice a helicopter takes us out to the base camp, a staging area, and then it’s usually about a two mile hike across the ice to reach the penguin colonies. The other ships I travel on are ice-strengthened and Zodiacs are used to get around. Before leaving the ship I’m checking to make sure camera settings and selected gear allow for that unexpected moment. This might be a penguin appearing on a beautiful iceberg as the Zodiac comes around a corner or a group of penguins porpoising alongside us as we’re cruising to shore.

So, I check the ISO, set the camera to shutter priority then crank up the shutter speed, image stabilization on, and the best lens selected for the possible conditions I might encounter. Two of my favorite lenses for this scenario are the Nikkor 28-300mm and the Nikkor 80-400mm. I seldom have a need for an extreme telephoto lens since the penguins are typically close at hand.

I remember one morning, right at sunrise, we were approaching the beach and the intense yellow and orange sky was beautifully reflected in the water along the shoreline. I noticed several small groups of King Penguins near the water so upon hitting the beach I immediately set off to capture shots of them before the sun came over the surrounding mountains. The intense colors in the water perfectly mimicked that of the feathers along the neck of the penguins. The opportunity was over within fifteen minutes or so and if I’d not been prepared I’d probably missed the shots which at the end of the voyage were some of my favorites.

It can be overwhelming when you first reach some of the beaches because of the sheer numbers of penguins in some colonies. I see it all the time when I take clients to Antarctica and I was guilty, if you want to use that term, of this myself. Where to begin, what’s actually interesting, or more to the point, what makes an interesting photo. You land on the beach and there might be several hundred thousand penguins, along with the other wildlife, so many that people are not sure where to begin! Perhaps a good problem to have when it comes to wildlife photography.

When I first head out I’ll usually start with capturing the grand scale and overall surroundings, including perhaps the weather conditions showing the penguins in their environment. Once I’ve captured a series of “reference shots” I then slow down, sit down, and just watch for a while. I’m constantly observing how the penguins are interacting with each other, with their nest, the egg they might be on, or a recently hatched chick. My favorite wildlife images are those that show some of the personalities of the subject, especially if a humorous caption quickly comes to mind.

There’s constant motion, and a lot of noise, around the colonies with the birds coming and going from nest to the ocean, feeding, bathing, stealing stones from each other for nest or looking for a mate This constant moving about can be good as it may present many different photo opportunities but it can also be a little frustrating at times when trying to frame a shot so you have to learn to anticipate possibilities. Under the right conditions I look for a spot along the shore where the penguins are coming and going. It might be a sandy beach or one that is rocky or where there’s a high lip of snow they have to jump over as they rocket out of the water.

I’m always looking for a way to frame a subject within something in the scene too. I spent over an hour sliding across the ice one afternoon trying to coax some penguins to a spot I’d marked so I can get them framed within a hole in an iceberg.

I’d seen the berg earlier in the day but the sun was at the wrong angle so I went back later and fortunately the penguins, especially the chicks were very curious and followed me as I moved away from the rookery. So, watch for something that can frame a shot or help to isolate the main subject from the chaos.

Depending on the time of year and the species of penguins the colonies can get VERY ripe “stinky” to put it mildly. There can be lots of penguin pooh, on the ground and on the penguins. Later in the season, January to March this is especially more obvious making it more important to select a place from which to shoot. Your best bet is to catch the penguins exiting the water when their feathers are clean and wet and it’s also when they’re more animated. I spend a great deal of my time down at the water’s edge, especially if there’s a bit of surf coming in.

One morning while photographing Chinstrap penguins the light was really bad, it was late morning, very cloudy and the only angle I could shoot from pretty much required the penguins to be back-lit. I decided to go to an extreme to show the motion of the penguins going into and coming out of the surf. I used a slow shutter speed with the help of a 2 stop ND filter and fired away. The motion of the waves along with that of the birds made for some interesting photos to a feel for the battle they have just getting into the sea.

Using a low point of view with a wide angle lens may also add interest to the image rather than shooting downward at the birds. If you just sit and hang out quietly on the beach you’re very likely to have the penguins coming right up to you, and your camera. If you leave something sitting around it’s all fair game for closer inspection.

I’ve gone from the wide-angle view which will including the landscape and perhaps other wildlife, closer shots of individual penguins, couples or nesting birds, some action in the surf and next would be details. Again, catch the birds as they leave the water is a prime location because you might catch water droplets on their feather which will also now be nice and clean.

Exposing for penguins can be a little tricky because you’re usually working with just black and white feathers which might have highlights from water and perhaps some snow. It’s very important to keep an eye on your histogram making sure you’re not blowing out the whites thereby losing details in the feathers. It’s truly amazing to see just how much detail there is.

In the end, and like with much of photography, there’s a lot of sitting around watching and waiting for something interesting to happen. Each trip South becomes a bit more of a challenge, trying to find a new perspective or to improve on something you’ve shot before. My next trips to Antarctica is still in the works. If you have any questions or comments please let me know.

Planning a trip to Antarctica? Here’s a link to an early post regarding what you might want to pack, and what to leave behind!

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Antarctica Photography Camera Gear

What to Pack

I’ve been asked a number of times what I typically pack when it comes to my photography trips to Antarctica or the Arctic. I’ve been South over a dozen times now, the same heading North, and that list of equipment has gone from just shy of the kitchen sink too including the sink, or so it seemed, up to now where I’ve really reduced the gear list. It’s tempting to bring everything you have, especially if this is your first voyage South,  but that can sometimes get in the way of paying attention to what you’re doing or trying to capture. Keep it simple.

Unless you’re able to get on a voyage to the Emperor Penguins, usually around Snow Hill Island, I would suggest leaving the “big guns” at home. When I took that trip I carried more gear than usual including the Nikkor 200-400mm. The 400mm does come in handy but now I prefer the Nikkor 80-400mm as it’s much smaller/lighter and still gives me the results I need and the zoom range is much more inline with the variety of subjects and distances you’re likely to encounter.. So, below is a list of what I currently pack.

I always carry at least 2 camera bodies, currently a Nikon D810 and Nikon D800, batteries and memory cards. A 16-35mm, 24-70mm, 28-300mm and a 80-400mm all Nikkor brand. Most of the time I’ve got the 28-300mm on the camera when in the Zodiac unless there are whales around then I’m likely to put on the longer lens to start out with. I might end up with the 16-35mm when the whales are right under the Zodiac and then be wishing I had something wider! Having the flexibility to zoom at different focal lengths when in the Zodiac is very important and trying to switch lens, or even cameras can mean the difference in your ability to capture that spontaneous moment which happens often. ALWAYS go out prepared for that unexpected moment, not just with the gear you select but with the camera settings and how you have your kit packed.

I take a mid-size tripod with an easy to use ballhead usaully a Gitzo Mountaineer Carbon Fiber tripod and a Really Right Stuff BH55 head. I also bring along a monopod with an Acratech GV2 ballhead. Occasionally I shoot video with either a waterproof Lumix or GoPro and so I bring along a Joby GoridllaPod in case I want to strap the camera outside when the ship is blasting through big waves or just to set it on the ground next to the penguins. Have fun and try some time-lapse shooting around the penguin rookeries or “highways”.

You’ll want to keep your hands free while going down or coming up the gangway so make sure you have a good watertight backpack and or a dry bag with shoulder straps.There’s a good chance you’ll get wet while in the Zodiacs so a dry bag might be considered. I have a LowePro AWII PhotoTrekker camera pack that I’ve had for 14 years and it’s been completely soaked a number of times. It does have a rain shield to pull out and so I’ve not bothered with a dry bag. I’ve recently updated that bag to a LowePro Whistler AW450, which I’ve modified a bit with an exacto blade and duct tape. :-)  Should you find yourself, and your pack, getting drenched remember to place your pack on the top of your boots so it’s not sitting in the water. Not a problem with a dry bag.

While onshore the camera gear selected may be different. This is when the tripod may get used as well as at times when on the ship, when the ship is not in motion.

I also grab a towel out of the cabin and carry small pieces of cotton cloth, like from an old flannel shirt, to clean my lens. Micro fiber stuff is useless when water drops, especially saltwater, gets on your lens. A remote release might come in handy and I suggest a wireless trigger so you don’t have to be in front of the camera to activate it.

I do bring a laptop, external drives and plug adapters, including a USB hub,  as well as any cables and cords I need. Power outlets can be sparse on the ship so you might consider packing a small power strip with a USB outlet. A thumb drive can come in handy should you care to share photos you’ve captured of other passengers or maybe ones they got of you in action! Make sure any of your software is updated, especially if you’ve just purchased a new camera. Bring along a digital version of your cameras manual too. Odds and ends include UV and polarizing filters and sometimes a variable ND filter. Pack a small tool kit with the needed allen wrenches, screw drivers, Leatherman and blower bulb to start with.

I had an earlier blog post which went over a little of this information but also included more about clothing and travel plans in general. Here’s a link to that post.

If you have any questions fire away!

The post Antarctica Photography Camera Gear appeared first on David C Schultz, Photography.

Night Sky Photography in Capitol Reef National Park

I thought I would give night sky photography a try, especially since I travel to areas not far away that have great opportunities for interesting foregrounds along with having the required dark sky. This is just a quick post about a lens I tried, returned and the replacement. People with much more skill at this kind of shooting are out there and have made some very informative post. Several of the post suggested Ronikon/Samyang/Bower lenses for this kind of shooting. I use Nikon and Nikkor lenses but did not have a fast prime lens that would be appropriate. So, I purchased a Bower 24mm f1.4. That did not work out well… at all. VERY blurred images.

I returned it to B&H and purchased the Rokinon version, 24mm f/1.4. Big difference! Now I’ve read that Samyang’s quality control is not that great and that their lenses can vary a great deal in quality. It’s my understanding that they manufacture the lenses and market them under the 3 different names. Not sure what that’s about. The first lens I bought was the Bower and for “the same lens” it was about $100 cheaper than the Ronikon. Get what you pay for? or just quality control?

Here’s a link to an article about why this collection of lenses might be a better choice over the Nikkor/Canon versions if you’re considering a new lens for night sky photography.

http://intothenightphoto.blogspot.com/2013/02/overcoming-coma-aberration-part-2.html

Again, I’m just getting started in shooting this kind of work but thought I would post the comment in case someone else happens upon a bad lens. Don’t give up!

“Temple of the Sun” in Cathedral Valley, Utah. Yep…I need more practice on my night photo post processing but ya gotta start somewhere and since the sharpness of the lens and the resulting image was not great I decided not to spend much time on it.!

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