I have a new go-to bag for extended travel. The Case Logic SLR Camera/Laptop Backpack (model SLRC-206) is everything I need for a road trip or plane trip. It is roomy enough to fit all of my essential equipment, but low-profile and lightweight enough to lug around all day or stash in overhead/under-seat storage on a plane.

My Canon Rebel, used for illustration purposes.

It’s got this great feature called the “Hammock Suspension System”, which suspends the camera inside the bag in a way that is easy to reach for quick retrieval. The top portion of the front panel zips open and is stopped by two small velcro straps covering the zipper, which prevent it from zipping all the way open unless you purposefully release the straps. The camera can be easily retrieved and replaced and is held secure by the suspension system. If you have a larger lens or lens with a hood (as is my case) you can remove the suspension system (which is held in place by velcro), and the camera will still be held in place by the inner storage framework and adjustable divider panels.

Hammock System, photo courtesy of Case Logic.

The laptop sleeve can hold up to a 17″ laptop, which is perfect for my needs – it seems to me that a lot of camera bags hold 15″ or 16″ laptops, but nothing as big as 17″. There are plenty of pockets, panels, and sleeves to hold memory cards, batteries, chargers, power cords, and various other peripherals. In addition, you can secure a tripod with straps along the side of the backpack, and it has a water-resistant base so you can feel confident setting it on the ground. Plus, it stands upright really well, even fully-loaded.

I used Case Logic's photo, because it was so much tidier than my gear!

Construction is very sturdy, and the straps are organized in such a way that there are no annoying, dangling lengths of strap. Everything is very well padded, I have no worries at all when it bounces around in the back of our Jeep when we go off-roading. The interior is a bright orange color, which, when you think about it, is very helpful. It’s so much easier to see black-colored lenses and accessories against the bright background.

I regularly carry my Canon EOS 7D with my 17-55mm f/2.8 IS attached, a 70-200mm f/2.8L II IS, a 50mm f1.4, a Speedlite 580EX II Flash, and my Sony VAIO 17.3-Inch Laptop. Everything fit easily, and if I had organized things a little differently I probably could have fit more. I highly recommend this camera/laptop backpack! It retails for $134.99, but is on sale RIGHT NOW (1/20/12) for $107.99.

*The Author received complimentary products in exchange for mentioning the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Related posts:

1. Product Review – Think Tank Airport Acceleration V2.0 Camera Bag
2. Product Review – Black Rapid RS-7 Camera Strap
3. Review: Union Street Camera Bag by ONA

Fujifilm announced the introduction of the X-Pro1, which sports a new CMOS sensor that is supposed to provide resolution that is equal to, if not better than, a full size sensor. Three lenses, the “XF18mmF2 R”, “XF35mmF1.4 R” and “XF60mmF2.4 R Macro” will be available immediately. Techradar has done a full hands-on review that you should check out if you’re interested in this little gem. (Photo courtesy of Fujifilm.)

Sigma Photo revealed the APO Macro 180mm f/2.8 EX DG OS HSM lens, which is the first lens of this focal length that maintains a 1:1 ratio with a constant f/2.8 aperture. It’s designed for full-frame cameras, but can also be used on crop sensor cameras for an effective focal length of 260mm. It also has optical stabilization for hand-held shots. I will be VERY interested to try one of these babies out. (Photo courtesy of Sigma Photo.)

Nikon revealed its new flagship D4, and is one of the few products to come out around the CES to state a price – a whopping $5,999.95 (why can’t they just make it $6k, really?). The ISO expands to 204,800. You read that right, TWO HUNDRED AND FOUR THOUSAND, EIGHT HUNDRED. You could find your way out of cave when your flashlight battery runs out, shot by shot. Other perks include an MP FX-format CMOS sensor, and 10 fps continuous shooting. (Photo courtesy of Nikon.)

Has anyone heard of Lytro? Yeah, me either. But they are releasing the world’s first light field camera, which has got the photography industry buzzing madly. As it is explained on the Lytro website, “…the Lytro camera captures the entire light field, which is all the light traveling in every direction in every point in space.” I am very, VERY interested in this camera. It’s currently retailing at $399 ($499 if you want red). (Photo courtesy of Lytro.)

So, friends! What neat gadgets came out of this year’s Consumer Electronics Show that you’re particularly excited about? Share with us in the comments, or over on our Facebook Page!

* All pictures, trademarks and brand names owned by corporations and entities as noted.

Related posts:

1. Depth-of-Field In Depth
2. Photography in the News: Charging Friends for Services
3. Photography in the News: Make me a memory

When you look at most professional portraits you might think that the photographer had a really nice studio in a room of their home or even a really nice space in an office building or a retail building. The truth is that most photographers have their studios in old warehouses, garages of their home or other roomy spaces that are unfinished. In fact, all the photographs in this article, except the last one, were taken in my garage. Using an open, unfinished, uncluttered space provides the photographer with the greatest amount of flexibility in the setting up of backdrops, props and lights. This really isn’t any different from the sound stages in Hollywood and elsewhere where movies, TV programs and commercials are shot. The beauty isn’t in the surroundings of a studio; it’s the ability to shoot in a controlled environment where the photographer has almost complete creative freedom.

Other than camera, lenses and lights, probably the most important item is the backdrop/background. With outdoor shooting, the backdrop is going to be much more varied, but other than selecting the location and time of day, the photographer has little or no control over the background. With indoor shooting, particularly studio shooting the photographer is in charge and can select the background. Most photographers most of the time will employ a backdrop for portraiture photography. This begs the question of what backdrops should a photographer have if he or she wants to build a portrait studio?

Before I start, I know this is one of those subjects where there isn’t any right answer. What works for one photographer may or may not work for another photographer. So much of the choice of backdrops depends on the likes and dislikes of the photographer, what they want to do with their portrait photography and their subjects or clients. Because of this, I’m not going to make a list of the ten backdrops every photographer absolutely has to have. What I will do in this article is to tell you what works for me and why.

I really like high-key portraiture. The stark-white background and nothing going on in the image but the model creates a challenge for photographer in getting the lighting correct and making sure the background is white. There are two was to achieve this as demonstrated by the next two images.

In this image I’m using a white vinyl backdrop that is 10 feet wide and 20 feet long. I can raise the backdrop high enough to give me ample room above the subject and still have enough backdrop to bring it forward to cover the floor where the model is standing in the event I want a full length photograph. Even though the back ground is white, it’s still necessary to put light on it when shooting to ensure that the white background is white. Without putting light on the background (I use one of my strobes) the background will look grey in the photo. If I want a grey background I don’t put any light on it. Essentially, I have a 2-in-1 background.

The backdrop I used in this photo will always be white. In this setup I used a strobe light with a 53″ octa-box pointing directly at the back of the model. It’s a lot of fun trying to get all the lights at the correct power, but once it’s set up the way you want it, you’ll have a white background in every shot.

As much as I love high-key photography, not everyone likes it and that includes clients. And, frankly, not everyone looks good with a white background. It’s important to have a neutral backdrop as well. They come in all different colors shapes and sizes. My preference is a canvas backdrop with earth tone colors. These are available hand painted, very expensive, and computer painted, not quite as expensive. The backdrop in the image below is computer painted, canvass and 10′ X 20′. It has the added advantage of having 4 different backdrop looks. I can connect either end on either side to the supports and get a somewhat different look with each one.

Canvas backdrops aren’t cheap. A canvas, computer painted backdrop from the supplier/manufacturer I purchase from can cost around $800 plus shipping. You have to sell a lot of portraits to break even on a backdrop that expensive. Fortunately, I was able to buy the backdrop you seen in the photo above, used, from another photographer. One recommendation I would make is that if you’re looking to buy something, photography related, especially something that doesn’t break or wear out, look for used equipment from other photographers. Photographers get tired of used the same backdrop all the time or a particular backdrop no longer fits with the kind of photography that want to do.

Sometimes the best background for a photo is black. A black background is dramatic. It can convey a mood that no other background can. Black backdrops, like white and other solid color backdrops aren’t overly expensive. However, it’s not necessary to buy a black backdrop. The image above was taken at a ballroom dancing competition in a very large hotel ballroom using a Canon Speedlite 580EX II Flash. There was no backdrop other than chairs and people. You can achieve a black background by adjusting the lighting. How to do that is another article.

Backdrops come in a wide variety of colors, patterns and materials. The variety seems almost endless and there’s no way I can cover all of them here. I will say that muslin backdrops are lightweight, easy to handle and inexpensive. I don’t care for them because they wrinkle and/or crease easily and it’s difficult to get them to hang flat and straight. You can get paper backdrops on a large roll. They are quick and easy to change from one backdrop to another. If you’re shooting a lot, tearing 20′ of paper off the roll every time you have a shoot can become expensive. But whatever works best for you is the best backdrop for you.

Photo Credits: All photos by Steve Russell

Related posts:

1. Backgrounds and Backdrops Outside The Studio
2. Studio Session -Technical Aspects
3. My Dream Photo Studio

Let’s say you have what you consider to be the minimum amount of gear to begin your adventures into professional photography – a good camera, a couple of quality lenses, and good working knowledge of post-processing. From there, your wish list has grown to epic proportions and includes everything from a back-up camera body to studio lighting and lenses galore. So how do you know what you really need, and in what order do you prioritize your purchases?

1. Ask yourself the right questions.

What kind of a professional photographer do you want to be? Do you want to take studio portraits or work on-location? Do you want to capture landscape or wildlife photography? Are you going to be traveling great distances, or staying close to home? Will you have a home studio or a rented space, or will you be working out of your car? All of these questions are key aspects of discerning what kind of gear you need to prioritize.

2. Protect your client’s photos.

First and foremost, get yourself an external hard drive to back up your photos. Consider backing up your backup, too! Choose a reputable on-line backup resource like Mozy, CrashPlan, or Carbonite. Since you are now going to be providing a service to paying customers, it is ESSENTIAL that your photography projects are stored safely.

3. Get the colors right.

Make sure you are working with a calibrated monitor and printer – you can’t get the colors right for your clients unless you’re working with properly calibrated displays! Purchase color calibration software and tools, and repeat the calibration process occasionally to make sure your colors continue to be accurate.

4. Develop your Essentials Kit.

Your Essentials Kit should include a selection of memory cards, spare batteries, microfiber cloths, lens caps, white balance cards, UV filters, lens hoods, and other odds and ends. Make up a kit for every camera bag you use, plus an additional kit for your storage cabinet. As you use a battery and plug it in to charge, IMMEDIATELY replace it with a charged battery. As you pull out a memory card for post-processing, IMMEDIATELY replace it with a blank one. By doing this you will seriously decrease the odds of being without an essential item when you’re out in the field.

5. Achieve the bare minimum.

Understand the BARE MINIMUM amount of gear you absolutely need to have, and prioritize those purchases over anything else. For instance:

- Portrait Photography: A basic three-light setup is essential, or two lights and a good reflector. The bottom line is, for portrait photography you absolutely need off-camera flash. Buy quality equipment and resist the urge to purchase cheap, flimsy kits. Get a softbox and an umbrella that can act as either a reflector or a shoot-through diffuser. Purchase with an eye toward traveling with your gear, if that is the route you’re going to take. You’ll also need remote transmitter/transceivers, like those you can get from Pocketwizard. Finally, invest in a quality light meter.

- Wedding Photography: Invest in “fast” lenses that work well in low light – get a wide-angle and a medium-length telephoto (such as the oft-recommended 70-200mm f/2.8). Many wedding photographers swear by the “three lens prime kit” – the 28mm, 50mm, and 85mm. Accompany those lenses with a Speedlight or two, which are highly portable and flexible. Have a light stand and a light modifier for each Speedlight, and remote flash triggering. If you have a full-frame camera body, consider a crop-sensor body as your backup (and vice-versa).

- Landscape Photography: You’ll probably want to prioritize lens purchases to make sure you have a full range of focal length capability. Always purchase lenses with an eye towards quality – the better the lens, the better the photos. A backup camera body is also essential to be prepared for any mishaps. Full-sensor cameras are highly recommended for wide-angle landscape photography. You’ll need a rugged tripod, one that is designed to be used out in the field. Finally, you will need a hardy, weather-proof travel case or two in which to store your gear.

- Wildlife Photography: Once you have a quality DSLR in hand, it’s all about the lens when it comes to capturing photos of elusive wildlife. Start with a high quality telephoto zoom lens, then add on with telephoto prime lenses. Get a rugged tripod, one that is capable of resting on uneven ground. Consider a crop-sensor camera body as your backup – they have the added benefit of adding on to the effective focal length of telephoto lenses. Choose a light weight but sturdy weather-proof backpack for your gear.

- Architectural/Real Estate Photography: Prioritize the purchase of an extreme wide-angle lens, or a tilt-shift lens. Choose a couple of portable strobes and battery packs, with enough power to light dim corners and large spaces. Your tripod should have a ball head and spirit level.

- Product Photography: Get a couple of high quality macro lenses – one with a 1:1 ratio and one with more extreme magnification. Powerful light sources are essential, whether they be constant lights for use with light boxes, or studio strobes. Buy light boxes of various sizes, and consider getting something like a Lastolite 7′x8′ HiLite for larger subjects.

6. Take notes.

As you gain experience in your chosen genre of photography, you will quickly learn about what works and what doesn’t work. Take notes on every photo shoot that you perform, with an eye toward simplifying everything from the amount of gear you need, to the amount of time it takes to set everything up. Figure out the gear that you bring but DON’T use, or the gear that you left behind that would have come in handy. As the essentials become obvious, you will continue to re-prioritize your list of gear purchases to suit your circumstances.

Photo credits (in order of appearance):
- “Randi in Wedding Dress” by Walt Stoneburner on Flickr Creative Commons.
- “Monument Valley” by Marco Bellucci on Flickr Creative Commons.
- “Female Great Horned Owl” by Tiffany Joyce.
- “Spiral Stairs” by Icelight on Flickr Creative Commons.

Related posts:

1. Photography Gear Research
2. Stepping Up Your Gear
3. Traveling with your Camera Gear

So what’s wrong with them? The strap is designed to hang around the photographer’s neck. When you walk, unless you hold onto your camera with your hand, the camera bangs against your chest or abdomen, depending on how you have the strap adjusted. When you bend forward the camera swings forward, away from your body, threatening to impact against the closest immovable object. The biggest complaint, though, is that it’s flat uncomfortable. Especially if you’re carrying something like a Nikon D7000 with a 70-200mm lens mounted to the camera body.

I refuse to “wear” the strap that comes with a camera but I do wrap it around my wrist while holding the camera in my hand. That way the strap at least provides a small amount of security. The only problem is that either the strap becomes too tight to be comfortable or too loose to provide that tiny bit of security. You would think that somebody could design a comfortable camera strap that held the camera securely, kept it from banging against your body as you walked, was easy to keep the camera close to your body especially when bending forward and kept the camera within easy reach. Well, somebody did.

Enter the Black Rapid RS-7 Camera Strap . I know a couple of photographers that have this strap, love it and swear by it. I know at least one photographer who doesn’t have it and isn’t willing to try it because he thinks it would be too easy for the camera to come loose from the strap and fall on the ground. (I’ll get to that point a little later in the review.) Okay, there were two people raving about it and one thinking something bad might happen. I decided to give it a try.

Let’s first tackle the issue that one person didn’t like. Instead of attaching to the built-in “rings” on the sides of the camera body like most straps, the RS-7 attaches with a screw type FastenR-3 that screws into the tripod socket on the bottom of your camera, battery grip or lens.

The photographer I know who doesn’t like it is concerned that the fastener will work loose. I’ve used the strap numerous times and the fastener hasn’t loosened any at all. Yes, to be honest, I do double check it from time to time, but there haven’t been any issues.

The strap connects to the fastener using a locking swivel hook to connect it securely to the strap. When using the strap for the first time, once it’s connected to the camera it’s time to adjust the strap. Instead of me trying to explain the steps to complete the adjustments, watch this short video on the Black Rapid web site.

When adjusted to fit, the camera hangs at the photographer’s hip within easy reach. To use the camera think of a Wild West gunfighter reaching for his pistol. It’s that easy and that quick.

I have used the strap in the studio, at indoor events using an on camera flash, at crowded outdoor events like art festivals and while shooting wildlife outdoors. In each case the Black Rapid strap performed better than any strap I’ve ever used.

What I liked about it:

It’s unbelievably comfortable. I can’t imagine any other strap being as comfortable as the Black Rapid. I spent over four hours one day carrying a Canon 5D Mark II with battery grip and using a 70-200 f/2.8 lens and carrying the camera was as easy and comfortable at the end of the event as it was at the beginning.

It’s cool looking. Okay, it’s just a camera strap but it looks different and I get a lot of questions about it.

It’s simple to adjust. I once read a “review” post on Amazon.com saying that it was very difficult to get adjusted to where it fit properly and no one told them about the video I mentioned above. My experience – I purposely adjusted and used it without watching the video just to see how difficult it was to adjust. Trying to be nice here, I had it adjusted, attached to the camera and was using it in less than five minutes from the time I opened the package. Oh, and there was a reference to the video in the package.

What I didn’t like about it:

Actually, nothing. I’ve tried to find something negative to say about it and I keep coming up empty. I don’t think this is a negative at all, but because the camera hangs at your side about hip level when you’re not using it, I advise that you keep your hand on your camera if you’re in a crowd or someone will bang into it for sure.

I did see where one person complained that it didn’t work very well for left-handed people if you wanted to wear the camera on your left hip instead of your right hip. Maybe so, but the last time I checked, my camera didn’t work left-handed either. The shutter release button is on the right side of the camera as is the grip for holding the camera.

The strap was provided by Black Rapid for me to try and review. When a product is given to me to use and review, I always try to use it as much as I can and in a number of different situations so I can give a fair review.

I also got a Black Rapid bumper or back window sticker for my car. I wonder how many people have looked at the sticker and wondered what new rock band was named Black Rapid.

Tiffany has the model of the strap that is made for women that she will review in the future. I’ll let her explain why there’s a special model for women.

I give this strap my highest recommendation, so if you’re looking for something to buy for the photographer in your life during the holidays or if you want a hint to give to someone buying for you, this is an excellent product from my perspective.

Photo Credits:
All photos provided by Black Rapid

*The Author received complimentary products in exchange for mentioning the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Related posts:

1. Christmas Wish List 2011 – Prepare for Black Friday!
2. Christmas Wish List 2011 – Prepare for Black Friday – Part II
3. Product Review – Think Tank Airport Acceleration V2.0 Camera Bag

Oh, oh, oh, how I LOVE the new Lensbaby Composer Pro.

Lensbaby has revised their original Composer with heavier construction, a Double Glass 50mm selective focus optic with drop-in aperture discs, and upgraded swivel ball and focus mechanisms. Where the swivel and focus on the original Composer felt a little “gritty”, the swivel and focus on the Composer Pro are smooth as silk.

As I described in my original review, the Lensbaby Composer Pro possesses a very specific “sweet spot” focus point surrounded by graduated blurring, that can be manipulated in fascinating ways to provide very interesting perspectives. The apertures are physical discs that are placed on the lens itself, from f/2.0 to f/22. They are contained in an applicator tool, and at the end of the applicator tool is a magnetic wand that is used to insert and remove the apertures. The lens can be tilted to move the “sweet spot” of focus around while composing the photograph.

The Lensbaby must be used in either aperture priority or manual mode, and it is manually focused. Once you play around with it for a few minutes, you’ll easily get the hang of how the lens operates. I found that it was unnecessary to “lock” the focus in place once it was manipulated to my satisfaction – there was enough tension to hold it in place just fine. However, you can utilize the locking ring to lock the focus in place if needed.

Once I trained my eyes to recognize the sweet spot and determine focus, I found no end to the fascinating ways I could photograph the ordinary.

I was in Santa Fe last month. While there I spent a lovely hour early one morning with the Lensbaby Composer Pro in hand, wandering around the area of the historic Plaza. Here are some of my shots (click to see larger versions):

Lensbaby makes versions for Canon EF, Nikon, Sony Alpha, Minolta Maxxum, Pentax K, Samsung GX, Sigma and Olympus 4/3. Both the Lensbaby Composer Pro with Double Glass Optic for Canon Digital SLR (here’s the Nikon version) and the Lensbaby Composer Pro with Sweet 35 Optic for Canon Digital SLR (here’s the Nikon version) would make excellent and unique gifts for the photographer in your life (or yourself!).

Once you get your hands on one, you’ll quickly discover how addictive they are!

Photos copyright Tiffany Joyce

*The Author received complimentary products in exchange for mentioning the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Related posts:

1. Review – Lensbaby Composer
2. Upcoming and Elsewhere
3. Review – Corel PaintShop Photo Pro X3

Wildlife Photography

As I sit in my little white home away from home at art shows, and attempt to sell my photography to unsuspecting people, I am often inundated with a question that I consider kind of silly. I can see where this curiosity comes from, as I am often able to get within 20 to 30 feet from an animal or bird that one would rarely get within 100 or 200 feet in the wild. People see some of my bird shots and are curious as to how I got so close.

Coopers Hawk from 22 feet

That question is “Do you ever shoot in a zoo?” And that answer is no, but then I do stop and do a bit of explaining.

The vast majority of my wildlife shots are taken in public parks, most notably Paynes Prairie Preserve State Park, in Micanopy, Florida. Micanopy is a small town 12 or so miles south of Gainesville, on US 441.

Bird Bridge in Paynes Prairie Preserve

Paynes Prairie Preserve State Park was purchased by the State of Florida in 1971 and became a National Historical Landmark in 1974 because of its unique geographical and biological features. If you visit the Gainesville, Florida area, be sure to check out the park’s vast animal and bird species. It truly is a gem in the Florida State Park system. It has bison, wild horses, numerous bird species including eagles, and of course, alligators. As a matter of fact, lots of alligators.

Now back to the original question. In fairness to the people asking that question about taking pictures in a zoo, Paynes Prairie Preserve State Park and other parks are often similar to zoos.

How so? The animals and birds here are wild, and must be treated as such. But they are so regularly in such close proximity to humans, that they sometimes show a sense of familiarity and calmness that if approached in a quiet and respectful manner, you may be surprised at how close you can get to them.

One of my most memorable examples is early one morning I was walking out La Chua Trail, on the north side of the park. It was cold, and I think I was probably the first visitor out that morning. I spotted a raptor sitting on the guardrail of the boardwalk about 250 or so feet away. I stopped, shot a couple of captures with my camera. I stood there for a few seconds, and the bird, which turned out to be a Coopers Hawk, looked at me and then went back to surveying the brush, obviously intent on finding his breakfast.

Coopers Hawk from 250 feet

I slowly moved closer until I saw him (or her) turn and look at me again. I stopped, shot some more captures and let him calm down.

Coopers Hawk from 80 feet

I kept this up for about 15 or so minutes, until I was so close that my lens, a Nikon 600mm F4 would no longer focus. That minimum focusing distance is 20.6 feet. I sat there and just watched, honestly amazed. The Coopers Hawk must have known that I was no threat and went back to scanning the brush. After a few moments, I began to feel a little guilty perhaps that I was infringing on his space, and slowly began to back away. It was one of the neatest things that a wildlife photographer can do, to approach a wild creature and get close, but not too close.

On yet another day, I was on the observation platform on La Chua Trail, scanning the horizon, waiting for a photo ‘op’ to jump out in front of me. Little did I know that a really super photo opportunity was on the way.

Whooping Cranes from 200 yards

I was watching the surrounding wetlands and as I turned and looked back down the trail, I noticed two white headed birds in the grassland just north of the trail. It was two of the resident Whooping Cranes. For the non birders, Whooping Cranes are one of the most treasured and sought after birds to add to your life list. We are blessed as we usually have somewhere between 4 or 5 resident Whoopers. I don’t know the exact figure, but there are around 350 or so in the wild and perhaps another 150 in captivity used for egg production.

My attention was glued to the pair as they fed out of the tall grass areas and worked their way south to the trail proper. They continued walking, and I assumed they would cross the trail and continue out into the area southeast of the platform.

Whooping Crane from 75 feet

Not so. As they walked out onto the trail, they turned and headed towards the platform area. I was blasting away with my camera capturing every little nuance. They gradually got so close that I could no longer get them both in the frame with the 600mm. I watched as they came right under me to the bottom of the tower and began to feed on some seeds they were picking out of all things, bison dung. I carry two cameras and had a 70-300 zoom on the second body. I could not get both birds in the same frame at 70mm as they had gotten so close. My heart was pounding as these two creatures continued to eat not 15 feet below me. I had checked the time when I first spotted them, and one hour and 22 minutes later, they were still at the bottom of the platform eating. They knew I was there, as they looked at me often, but as I was moving very slowly and not threatening them, they tolerated my presence. Finally two park visitors approached on foot and the birds saw them and took off. The visitors approached me and were astonished that they had gotten to see the whooping cranes. They asked if I had seen the whooping cranes. I just smiled.

Whooping Crane from 25 feet

As far as the bison, those are regularly seen in Paynes Prairie also. But that’s another story.

I know that I am lucky to spend so much time in this park and in other wild places and get to see so many neat creatures up close. Are all creatures so cooperative? Obviously, no. And do we have a moral obligation not to disturb wild creatures with our presence? Yes.

I totally understand that there is a fine line as to my need to record, but not to disturb wild birds and animals. But, when some of those same people come into my booth and see that Coopers Hawk photo, they become a little more curious about photography and birding and the need to preserve our wild heritage. While I am a businessman and hope to sell images at the art fairs, my ultimate goal is to inform the public about the beauty of our wild birds and animals.

Come and visit us at Paynes Prairie or your local park. Or, become more familiar with your home park and explore the photo ‘ops’ they present.

___________________________________

I’m compelled to make a comment about Greg’s article. I can remember when there were only 40 Whooping Cranes living on the planet. The fact that there are so many of them alive today is a tribute to the hard work from many people to save this wonderful bird. That there are places like Paynes Prairie where photographers can photograph them in the wild is a gift we should greatly appreciate. Thank you, Greg, for sharing this with us.

All Photos by Greg Stephens

Related posts:

1. 6 Tips For Wildlife Photography
2. Basic Wildlife Photography Tips
3. Wildlife Photography FUNdamentals

To paraphrase Will Rogers, I never met a Think Tank product I didn’t like.

In November of last year I wrote an article reviewing the Think Tank Airport Security V 2.0 roller bag that I had recently purchased. I thought the bag was awesome then and I still think it’s awesome. An absolutely wonderful piece of equipment. At the time I had not been able to travel with the bag but since then I’ve flown with it and taken road trips with it. It rolls easy, has an extra long pull handle so I’m not banging it with the heel of my shoes when I’m pulling it and it holds all my stuff. Another great thing about it is that it comes with enough dividers that you can stack some items, one on top of the other, to get even more gear in the bag.

In travelling with the bag I discovered two minor problems. The first is that it holds so much gear that it gets really heavy. Of course that’s my fault. The bag performs very well even with all the weight, but it can be a bear to lift into some of the smaller overhead bins of an airplane. The second and real issue is that it can be difficult to place in the overhead bin of smaller aircraft like an older MD-80. On one flight I almost had to check the bag which was not something I wanted to do with my photography equipment.

I also have a Tanrac Cyber Pack 6 backpack camera bag that I was never really crazy about. It’s a good bag but there were a number of things that didn’t fit my needs. As a result, I’d been considering getting a Think Tank backpack camera bag that would fit in the overhead of an MD-80, that would not hold so much that I was tempted to put everything in it which in turn would make it overly heavy, yet still have all the advantages of the Airport Security V2.0 bag. Imagine my excitement when Tiffany and I were contacted by Think Tank Photo and asked if we were interested in reviewing some of their products. I was sent the Think Tank ~ Airport Acceleration V 2.0 bag and I immediately started using it.

Because I received the product in exchange for writing a review I wanted to make sure I really put it through its paces and make sure I was basing my review solely on the performance of the product. I’ve had it for almost 6 months now and have given it a thorough work out. I’ve carried it on commercial flights, taken numerous road trips, trekked through the woods, and carried it on location shoots. All in all, it gets an A+ from me.

Here are some of the things I really like about the bag:

1. Quality of construction – Think Tank bags are rock solid and the Airport Acceleration is no exception. Made of very strong fabric, heavy duty zippers, high-end backpack quality straps and buckles, I’m convinced I’ll never need to replace it unless I lose it (touch wood). You can get a very good idea of the quality of construction just by holding it your hand.

2. Size – The outside dimensions of the backpack are 18.5” H x 13“ W x 7” D which means it’ll fit in the overhead storage compartment of most commercial aircraft. The internal dimensions are 17.75” H x 12.375“ W x 6.75” D which means there’s ample room for lots of equipment.

3. Capacity – I’ve carried two camera bodies with battery grips, a Canon 5D Mark II and a Canon 7D, a 70-200mm f/2.8 lens, 24-105mm f/4 lens, 300mm f/4, 100mm f/2.8 macro, 580 EX II Speedlight, and a Sekonic L-358 light meter and there’s still room for more stuff. It also comes with a padded computer case that will hold a 15-inch laptop. The computer case slides in the outside pocket of the back pack. Without the case, the outside pocket will hold a 17-inch laptop.

The bag will also hold a 500mm f/4 lens as seen in the image above. I don’t have a 500mm lens, yet, so I haven’t tried to fit it and the other stuff I want to carry into the bag.

4. Shape – Most backpacks, including most photography backpacks have a rounded top. That’s fine, I don’t profess to be a backpack designer but I like to put my two camera bodies at the very top of the pack. Somebody at Think Tank, at one time or another, must have had the same thought. The Airport Acceleration is as wide at the top as it is at the bottom giving it a rectangular shape. Guess what? Both camera bodies fit side by side at the top.

5. Comfort – I have a lot of experience with backpacks. Boy Scouts as a kid. Twelve years in the Army. Backpacking in the Olympics, Cascades and Sierra mountains using both external frame and internal frame backpacks. This backpack is very comfortable. It’s easy to adjust the straps and easily rides high on my back.

6. Handle on top – At first this seems like a ho-hum addition to the bag. However, when you’re trying to move the bag around in tight spaces, or just carrying it for a short distance, it’s a lot more comfortable to carry with the built-in, padded handle on the top than it would be grabbing one of the shoulder straps.

Here are some things I don’t like about the bag.

Actually there is only one thing I don’t particularly care for in the construction of the bag. Note that in item 5 above, I have a lot of experience with backpacks and am very comfortable with the standard plastic slide release buckles commonly found on backpacks. For some reason, Think Tank opted to put a differently designed buckle on the flap that closes the outer pocket that is used to carry a laptop. To me, the buckle was a little awkward getting used to. It doesn’t bother me now, but at first, every time I wanted open the flap I’d squeeze the side of the buckle and nothing would happen. I have to admit that it gives the bag a sleeker look and because of the way it’s designed, it won’t get caught on other stuff and that may be what the Think Tank designers had in mind when they put that particular buckle on the bag.

To be truthful, I guess I have to admit that I’m being a little on the picky side complaining about the buckle design, but sometimes old habits die hard.

If you want to learn more about the bag and it’s features you can go the Think Tank website and click on the features tab.

If you’re thinking about buying a backpack style camera bag, I highly recommend you consider this bag. At first you may think it’s a little pricey, but the design and quality of the bag makes it a great bargain.

All Photos provided by Think Tank Photo

*The Author received complimentary products in exchange for reviewing the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Related posts:

1. Product Review – Think Tank Airport Security V2
2. Review: Union Street Camera Bag by ONA
3. Product Review: Case Logic SLR Camera/Laptop Backpack

I’m going to start with what’s on my list. It’s was on my list last year and they’ll probably be on my list next year because I don’t really expect to get any of these items. Hey, it is a wish list and if you’re going to wish, you may as well wish big.

Steve’s Wish List

TheCanon EF 500mm f/4L IS II USM Lens is my dream lens. Unfortunately, even though Canon announced the lens in February of this year, it still hasn’t been released. My guess is that the tragic earthquake and resulting tsunami is the main culprit. Yes, I know that this lens is currently priced at $9,499 and that the current model of the 500mm lens priced at $6,799 is $2,700 cheaper but why buy an old model when you know a new model with better quality glass will be released in the not too distant future? Besides, remember what I said about wishing big.

Gitzo GT3541XLS Series 3 Long 6X Carbon Fiber 4-Section Systematic Tripod with G-Lock – Replaces GT3540XLSYes, I know that to many people paying $705.41 for a tripod is ridiculous. I agree that for many applications this tripod is overkill. However, try using a more modest tripod while using a 500mm f/4 lens and professional model camera with battery grip. I tried that when I went to the Everglades back in March. As I watched all the other photographers using this tripod and the next item on the list, a little light went on. Another great thing about this tripod is that it will extend to 78 inches in height. I’m 6′ 3″ and most tripods that are more reasonably priced are around 64 inches in height when fully extended and even with the ball head and the camera mounted, I still have to bend my back to see through the viewfinder. With the Gitzo that problem is solved. That’s why this tripod is on my wish list.

The Wimberely Gimbal Head makes working with super telephoto lenses like the 500mm a breeze. You can reposition the camera with one finger and it will remain in place. This head also allows you to easily track birds in flight or animals moving. It comes with a hefty price tag of $595 direct from the manufacturer, but it makes life much easier when shooting birds and other animals.

There are other items on my wish list but that’s enough gift ideas that are way out of the price range for most people. Here are a few more gift ideas for photographers.

Okay, the Apple iPad 2 MC916LL/A Tablet (64GB, Wifi, Black)is on my list as well. What I recently discovered while using my wife’s iPad is that in addition to everything else it does, it’s a wonderful device for sitting down with a client and reviewing proofs from a portrait session. Much lighter than a laptop, easy to flip through the images and the clients really seem to prefer holding the iPad in their hand instead of looking at the screen of a laptop. In my opinion, it’s over-priced at $800, so if you don’t want to spend that much money there are other tablets on the market.

Last week Tiffany posted an article about setting up an inexpensive speedlight studio. This book, Off-Camera Flash Techniques for Digital Photographers by Neil van Niekerk is a great guide and how-to for using off-camera flash and it’s only $23.07 at Amazon.

Two great cameras that are considered the “cross-over” models from amateur to professional are the Nikon D7000 16.2MP DX-Format CMOS Digital SLR with 3.0-Inch LCD (Body Only)currently priced at $1,199 and theCanon EOS 7D 18 MP CMOS Digital SLR Camera with 3-Inch LCD (Body Only)currently at $1,484 at Amazon. These are both very high quality cameras with the rugged magnesium alloy body found in high-end, professional model cameras. If you, or a photographer you’re buying a gift for, are ready to move up a step in the camera equipment area, either of these cameras would make an awesome gift.

With the exception of the Wimberely Gimbal Head, all prices are those listed on Amazon.com at the time I wrote this article. Prices change, sometimes daily, so when you click on the link to one of the items, you may see a different price.

Most of the items I listed are quite expensive and not for everyone. But they are things that any serious photographer can use. Besides it’s nice to wish even if you know the wish will remain just that.

Photo Credit:

Christmas Presents by Q,A,O,P Spaces on Creative Commons

Related posts:

1. Christmas Wish List 2011 – Prepare for Black Friday!
2. Prepare for Black Friday!
3. Christmas Wish List 2010

One of the most often-asked questions we get is, “What do I buy to get my Speedlight off of my camera and start taking great pictures in a small home studio?” I have a Canon Speedlite 580EX II Flash (which I LOVE, by the way), and recently picked up a few things to make its off-camera use a lot more creative, flexible, and useful. I spent just over $200 and got two light stands, a softbox, an umbrella and umbrella adapter, a person-sized reflector with a mounting arm, and a small hand-held reflector (all of which work with any brand of Speedlight, like the Nikon SB-900, not just Canon).

Keep in mind that these prices are from Amazon as of 11/13/11, prices might be slightly different for you. (Also, I would have been able to do a better job giving you photos of these things had my husband and son not commandeered the living room to play Medal of Honor. But then you would have missed my trademark pool table, right?)

Fotodiox 40×60″ 5-in-1 Collapsible Reflector Disc Pro Kit, with Stand and Holder Arm, Soft Silver/Gold/Black/White/Diffuser(right), currently $54.95. This thing is HUGE and could easily be used for a head shot backdrop on the black or white sides. It throws an amazing amount of light when paired with a Speedlight.

CowboyStudio Photo / Video 24in Large Speedlite Flash Softbox with L-Bracket, Shoe Mount & Carry Case(left), currently $45.42. While a wee bit flimsy, this is a great little collapsible softbox for the money. The hotshoe mount is pretty iffy to me, so I would definitely screw on the little plastic foot that comes with the flash and mount it that way.

Impact Air-Cushioned Heavy Duty Light Stand – Black, 9.5′ (2.9m), currently $38.95. This is an extremely sturdy stand, and air-cushioned so if you forget to hold on when you loosen the fittings, the whole thing won’t slam down. The only gripe I have with it is that it’s hard to collapse for storage.

Manfrotto 026 Swivel Lite-Tite Umbrella Adapter – Replaces 2905, currently $28.26. You need an umbrella adapter when you mount an umbrella to a light stand. This one is flexible and does the trick.

CowboyStudio 40in White Satin Umbrella with Reflective Silver Backing and Removable Black Cover, currently $30.05. Your standard reflector umbrella, but the backing can be removed so that it becomes a shoot-through umbrella as well.

Flashpoint 22″ 5-in-1 Collapsible Disc Reflector, Translucent, White, Black, Silver & Soft Gold.(not pictured), currently $16.95. Everybody needs one or two of these to toss in there or have the model hold for that added bit of extra light.

Add another Speedlight (such as the much less expensive Canon Speedlite 430EX II Flash or Nikon SB-700) and another light stand and you’ve got a REALLY flexible and well-equipped home studio, just using Speedlights. Add a Pocket Wizard Flex Transceiver TT5/Mini TT1 Transmitter Bundle (here’s one for Nikon) and you’ll really be rocking.

*The Author did NOT receive any products or compensation in exchange for mentioning the Provider’s products and/or services on this website. The Author purchased this product for personal use with personal funds. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement. This is not an advertisement.

Photo of Nikon SB-700 Speedlight by Yoppy on Flickr Creative Commons.

Related posts:

1. Build a Home Photo Studio for Under $800
2. My Dream Photo Studio
3. Lighting – Where To Begin